Ikonika has revealed details of her second album, to be released through Hyperdub in July.
The young Mancunian producer will release Beyond through the esteemed label in July.
After the success of her Quarantine album, Laurel Halo makes a welcome return to Hyperdub and she’s tackling that tricky premise of following up a widely praised release by veering off into completely new territory. The sunkissed lo-fi charm of the long-player has been buffed, scrubbed, pumped and delineated into a collection of four tracks that deal in nebulous stylistic traits somewhere between the ghost of dubstep and the half-life of techno, a world away from the winsome, folky tendencies Halo was readily displaying before.
A dead dog wrapped in an orange blanket. A teenager collapsed in a 24-hour McDonalds’ booth, holding their head in their hands. Broken glass crunching under your sneakers as you’re walking through a parking garage on a windy night.
One of the reasons Burial’s music so affecting is that it acts as a Rorschach test in audio form. Uniquely activating an ambience or mood for the listener in a way that few others can, William Bevan’s tunes still remain eclipsed in enough fog to force one to fill in the blanks using their own experiences.
Enigmatic producer Burial will release a new single for Hyperdub on December 17, entitled One/Two, it has been revealed.
Hyperdub are giving away The Spaceape’s Xorcism, a deeply personal seven track EP centred around the producer’s ongoing battle with cancer.
Hyperdub’s wide-reaching year of releases will continue with the release of Dark Crawler, the second album from Grime producer Terror Danjah.
Details have emerged of Sebenza, the second studio album from London trio LV which is set for release on Hyperdub in September.
You can’t deny that Hyperdub is moving away from its original mooring to another place within electronic music. Purists will bemoan it, critics will pontificate upon it, and loyalists will champion it. Whatever the case, the label now stands as a reflection of Kode9’s broad tapestry of musical vision, and that’s presently a sound that reaches from DVA’s technicolour bump of Pretty Ugly to the recent Hype Williams-but-not offering from Dean Blunt & Inga Copeland. Now we have something equally adventurous (both in art and Kode’s A&Ring) from Laurel Halo.
It’s not been made clear why Dean Blunt and Inga Copeland opted to drop the Hype Williams moniker in advance of this album for Hyperdub. Given the somewhat glib, intellectual appendage-swinging approach us writers have taken to their music since they surfaced, it’s possible they saw it as just another way to have us endlessly theorising. This shift in presence to their own supposedly fake names is the only difference on Black Is Beautiful, a gradually intoxicating album that retains every other aspect of the hazed out world of malfunctioning equipment Blunt and Copeland have occupied across countless releases.
Out of anyone to emerge in the UK funky scene, Scratcha DVA has been one of the key antagonists of the sound. His style veers wildly between moods, from sweet introspection to dutty swagger, quite often in the same bar. Between a show on Rinse FM and an increasingly steady release schedule on Hyperdub, in some ways DVA has transcended the trappings of his grime background to reach a kind of creative liberation where almost anything goes in his music. There’s a common kind of groove across the whole of Pretty Ugly, which is the closest delineation to DVA’s UKF contemporaries, but beyond that the tracks go anywhere and everywhere.
While the Juno Plus team was in recovery mode this weekend after an extremely fun Friday night at Oscillate Wildly, Hype Williams troubadour Dean Blunt sneaked out a 30 minute continuous mixtape of solo productions.
After the woozy dread of the King Midas Sound album Waiting For You, Kode 9 has assembled a sterling cast of producers to take the uneasy tones of the original tracks and refigure them to their own design. Remix compilations tend to suffer from being somewhat unfocused as the assembled identities jostle to get their creative point across, but here the remixers in many cases adopt the strong characteristics of the source material.
There are exceptions, such as when Flying Lotus dismembers “Lost” into a manic three-minute cauldron of bleeps and avant-garde hip-hop swagger. Likewise Gang Gang Dance manage to conjure up a delightfully bonkers and bouncy romp with the ideas set out by “Earth A Kill Ya”. Nite Jewel’s own take on “Lost” manages to straddle this concept with mournful synths that come from a very different place to the original, yet still striking the same emotional chord that makes the King Midas Sound version so haunting.
There’s also some notable revoices to be enjoyed, especially from the ever-blossoming Cooly G. Tackling “Spin Me Around”, she revives the same weighted romance with her own honey-coated delivery over a sparse and subtle rhythm. dBridge does a similar turn on “Without You”, as his tantalisingly taut track of bleak synths and heart-broken croons threatens to break into a mean drop at any moment, and yet never quite does.
Nothing can prepare you for the visceral assault of Ras G’s interpretation of “Cool Out”, which drowns the raw elements in manic blasts of electric fuzz. It’s quite unsettling but addictive at the same time. More than anything though, the album feels like a celebration of the original rather than of the artists, so strongly does the vibe of Waiting For You permeate through these wide-reaching styles. It’s testament to the curation of both projects that such disparate elements can sit so well together.
Upon meeting Ossie in a crowded North London tearoom, it’s quickly apparent that this young producer has been well served by the opportunity to make music from an early age. Intrigued by the sounds of the late 90s hip-hop and R&B’s most revered production outfits, Ossie grasped at the chance to emulate them at secondary school: “The period of Neptunes productions around ‘99-2000 was key for me. I was moving from primary to secondary school, listening to lots of their music and the new school had equipment I’d used on a music course I had attended, like a Cubase VST with a little MIDI controller.” Looking back at this chance, Ossie confidently remarks, “I feel like I know a lot for my age production-wise, simply because I’ve had so much practice.”
Bathed in the fuzzy glow of a knackered VHS, the Hype Williams myth and wonder continues on its directionless yet highly arresting voyage. Coming to light on a wave of internet support, the shadowy group are in the fortunate position of making their name on an uncompromising and individual sound, leaving them free license to take it where they will.
It’s not hard to see why Kode 9 would have wanted to snap up some tracks for his Hyperdub imprint. The key component of the HW sound is the kind of malnourished synthesiser treatment that would get Kode reported if such a thing were illegal. It’s hard to fake this kind of degraded, ever-so-slightly detuned drone, and that’s exactly what makes the music so captivating. It genuinely sounds like it was made in a grotty broom-cupboard flat in a dilapidated part of New York in the 1980s; evocative in the same way that Burial was for South London when everyone went potty for dubstep.
Sometimes this perfectly fashioned imperfection does come off being a little contrived at the cost of a good track, but then this is music made for its style as much as its substance. On this EP, “Rise Up” shines through as the most complete realisation of what Hype Williams are striving for. Mournful pads muddle into each other while the wobbly singing reveals a fragility that comes from real emotion. For all the considered analogue erosion, there is a heart-and-soul emotional message in the music. After a few listens it’s hard not to succumb to the misty-eyed reverie and bask in the nostalgia of it all.