Review: A killer new double-tracker from Altered Natives, a man currently on outrageously good form following his "Tenement Yard" album, remixes of Ikonika amongst others and some awesome DJ sets to boot. Though he's already got a new album slated for July, these two twisted funky house workers bridge the gap until then. "The Bitch" takes the lead spot and builds on tech kicks with a rough and funky acid bassline, all the while keeping things urgent with old-school 808 fills and some deep atmospherics, in the vein of 3024 label boss Martyn. "Crop Duster" gets on an even more funky, soca-dippin' tip with some urgent hats and claps keeping the tune driving along nicely while a slowly filtered post-dubstep bassline develops underneath. These two are definitely gonna tickle fans of Martyn, Kode9 and Cooly G, and anyone who appreciates some quality, forward looking house period.
Review: Considering the rich vein of form Al Bleek has enjoyed as Boddika of late, Martyn's 3024 seems the perfect launch pad for Jon Convex - the solo endeavour of Bleek's Instra:mental cohort Damon Kirkham. Convexations is purportedly the first of a raft of releases across a number of labels for the Convex moniker and you can commence finger licking now, as the two productions here are perfect breakout material. The title track sets the tone, commencing in dramatic fashion before quickly settling into menacing Detroit electro pulse of rattling percussion, sputtering chords dipped with intensity and uneasy vocal flourishes. Complementing this is "Falling Down" with tight percussive rhythms, drowned out warm vocal swirls and rich sounding bass patterns - the end result being much more than the sum of its parts, especially when the array of thick chord washes join the party!
Review: It was an important year for Jon Convex and after his spectacular collaborative album with his Instra:Mental brother, Boddika, he needed to continue delivering the goods. London's 3024 has been his closest imprint, having released a string of fantastic releases for the label. The title track features the debaucheries of D&B legend, dBridge, where the pair have conjured a monter track, filled with swarming slices of bass, shifty drums and smooth vocals. "Zero" places its thumping drums next to bleepy melodies and a seriously odd bass line - a certified booty shaker! "Stay" is a gentler hymn, aided once again by dBridge's mastery, where 4/4 beats meet with anthemic piano keys and ludicrously seductive bass tones.
Review: A collaboration between Panorama Bar resident Steffi (Doms) and 3024 boss Martyn (Deykers), this three-tracker moves effortlessly between a range of styles. "Tepper" kick starts the release with reflective synths and a warbling bass. Closing out the release is "Penny's Groove", where Steffi brings her DJing experience to bear for a musical but effective deep house workout. Sandwiched in the middle is the title track. Reminiscent of mid-90s Detroit techno it is pact and insistent, is underpinned by lithe break beats and features at its centre a booming bass that sounds inspired by the subs of Kevin Saunderson's E-Dancer project.
Review: Following on from a brace of EPs on 3024 and a track on Ostgut's Zehn compilation, Martyn and Panorama Bar resident Steffi release their debut Doms & Deykers album. With a focus on the dance floor throughout, the recording process appears to have been entirely democratic, with both producers bringing their own influences to bear. In Martyn's case, "Grime for Dolly" plays out like a slowed down version of the dreamy drum'n'bass he used to spin, while on "It's You I See", vocodered vocals and sweet chords are underpinned by a churning bass and one of his trade mark stepping rhythms. Steffi is also not found wanting and the acid trails of "Some People Think Television" and the wonderfully melancholic Detroit techno of "To All Family And Friends" is unmistakably hers.
Review: Collaborations from Dutch pair Steffi and Martyn under the Doms & Deykers alias have been frustratingly intermittent with just the sole 12" and a contribution to last year's Zehn boxset from Ostgut Ton. This 12", Dedicated To Those Who Feel, is apparently the precursor to a full album from the duo which is great news! "It's You See" sets the tone, cleverly fusing 808 State style chords, pitched-up vocal samples, warehouse-friendly analogue bass, and the sweaty hustle of techno rhythms. "Bafff" continues the retro-futurist theme, with restless rave stabs and psychedelic acid lines peppering a locked-in groove, before they explore deeper - if no less loved-up - territory on the colourful warmth of "For Those Who Feel". It is, as expected, a rather fine EP.
Review: Danish producer Henrik Koefod aka Erosion Flowis still only in his early twenties but has already reached a very high standard. Spotting his talent 3024 owner Martyn snapped up an EP from him last year and now follows it with a second "Spectrums" instalment. On "Better Way" the tempo is slowed right down to provide backing for an angelic vocal but in the main Volume 2 is all about the dance floor. He taps into the chord-heavy sound of 90s techno for the fist-pumping "Eclipse" while on "Syvv" a more stepping rhythm prevails underpinning a spine-tingling synth melody reminiscent of Slam's Positive Education.
Review: Martyn always seems to be able to get the kind of material from artists for 3024 that goes outside their established comfort zone - see Mosca's Wavey EP for proof of that - and this EP from Jacques Greene is no exception. Eschewing his usual combination of futuristic R&B and 2-step, "Ready" is techno in the way that only Greene could do it - lightly shuffling garage beats and gentle vocal samples abound at the beginning, but are soon bulldozed aside by hammering kicks and cascading arpeggios. "Prism" is, melodically at least, what we'd expect from the Canadian; with glittering sequences streaming over its hollow kicks, but the dark house vibe underneath is one we haven't seen from him since "Baby I Don't Know (What You Want)". Fantastic stuff.
Review: Red Bull Music Academy participant Illum Sphere - aka Mancunian producer Ryan Hunn - drops the Titan EP on Martyn's 3024 imprint. To have an EP on the Dutchman's label is an accolade in itself - he's only the second producer other than Martyn to release on it - and it lives up to all expectations. It's genre bending, leftfield stuff, ranging from the rave cave mayhem of "Titan" to the meandering deepness "Technopolis", which brings to mind Floating Points. Highly recommended.
Review: On this 12", Martyn's 3024 imprint delivers its first split single, containing two tracks apparently too good to wait for individual releases. On the A-Side Instra:mental deliver "Pyramid", a typically throbbing number from the duo that sounds more like a meeting of the pair's respective solo monikers as Boddika and Jon Convex, with the deep bass oscillations of the former melded with the weirdness of the latter to create a furiously paced techno roller. On the B-Side Trevino delivers "Chip", which combines a glitchy garage rhythm with a dark EBM bass arpeggio and sinister chords to recreate the warehouse sound of Sheffield circa 1990 by way of a chiptune rave.
Review: Dutch producer Martyn puts his name to the 10th release on his 3024 imprint with a pair of raw analogue jams. "Left Hander" will please fans of Lone and Kassem Mosse, with raw analogue drum programming underpinning 90s rave keys. Flipside accompaniment "Shook Up" is a more straight up techno jam - straight up for Martyn anyway - not dissimilar in nature to the "Miniluv" track that popped up on Ben Klock's Berghain compilation earlier this year. More off kilter magic from the Dutchman.
Review: Holland's Martyn is so in tune with the UK sound that we sometimes think he's hiding out in the underbelly of South London among the likes of Burial or Loefah. This time he's back on his own 3024 alongside The SpaceApe - usually delivering his fine vocal swagger for Kode9 - with "Is This Insanity?", a stop-start dubstep hybrid for the darker sets. "Camberwell Green" follows without any kick drum, just a gorgeous bundle of melodies and percussion riding on the top, and Berghain master DJ Ben Klock remixes the title track into an effective techno clusterbomb reminiscent of the tunes for his own Klockworks imprint. Large.
Review: Well, what a collection of original creations we have on our hands here as 3024-FYE3 gather up four of the most creative names for a percussive extravaganza. We kick of this fabulous adventure with the tribalistic triplets and intense drum designs of Djoser's 'Wera', followed up by the legendary Jacques Greene, who brings out the lo-fi mastery across the rolling time-dance of 'Say Nothing'. Next up, Martyn gets very busy with his well structured amazonian expanse of 'Recon', before we finish up in style as NKC gets seriously experimental with the minimalistic drum melodies of 'Honest Drums'.
Review: What a fantastic selection we have for you here as we witness four of the most creative producers working within the underground dance music scene come together for a top notch project, courtesy of the 3024 team! We kick off course with the stunning yet minimal production stylings of Martyn, with his memorable original 'Frozen Bread Snaps', which is followed in hot pursuit by Sin/Grezlins & Jesta's tasty junglist roller: 'Door Of Guf'. Next up, Noire dives into the driver's seat for a helping of original funky with some delicious percussive power and chiming leads, followed up by Parris and the super delicate 'Dusty Glass Bubbles', a fantastic way to round this one up!
Review: The adoption of a new name and a new sound by Marcus Intalex has been one of this year's success stories, with his rattling brand of warehouse appropriate techno under the Trevino moniker gracing labels as diverse as [Naked Lunch], Apple Pips and Craig Richards' The Nothing Special. With a forthcoming debut on Klockworks on the way, Trevino returns to Martyn's 3024, the label where this new name was first established. Then appearing on a split release with Instra:mental, Trevino comes through with a full release in Tactical Manoeuvre EP which brandishes three tracks that showcase the different styles and sounds of the producer. The murky warehouse vibes of the title track make it the Juno favourite here but all three productions here are clearly the work of a producer in a rich vein of form.
Review: As his techno repertoire grows ever stronger, Trevino makes another appearance on Martyn's 3024 label with signs that his approach to 4/4 is maturing and diversifying. The trademark snarl still sits underneath the constructions, but "Gone" is notably fluttering in its delicate synth shimmers and restrained groove. "Twelve" is a more feisty number that neatly picks up the thread from previous releases, as powerful bass swells bring in the harmony that the higher synth stabs crave. "Regnie" heads into a more esoteric kind of Detroit mentality, all searching bleeps in optimistic tones over a snaking rhythm that calls to mind the most refined of techno approaches.
Review: Martyn's 3024 label returns with an extensive collection of works from rising UK house man Leon Vynehall. Originally debuting on Well Rounded Records' Housing Project sub-label back in 2012 with the Mauve EP, Vynehall has since become one of the UK's most in-demand of the new wave of young house producers, releasing subsequent records for George Fitzgerald's ManMakeMusic and Will Saul's Aus as well as collaborating with blog house survivor A1 Bassline under the Laszlo Dancehall alias. Having debuted on 3024 with last year's Open platter, Vynehall is back with Music For The Uninvited, a seven-track collection of tracks supposedly inspired by rides to school in his mother's car as a child in which he would listen to "mixed hip-hop, funk & electro tapes, Janet Jackson albums, Style Council and Stiff Little Fingers". Whilst there is plenty of the individual house sound Vynehall has developed on offer here ("It's Just (House Of Dupree)" is a certified jam) there are also more tranquil moments to bask in such as "Inside The Deku Tree" and "St Sinclair" which bookend this excellent release.
Review: The ascendant production career of Brighton's Leon Vynehall is demonstrated once more with a debut release on Martyn's 3024 label. According to the DC dwelling Dutchman, the genesis of the Open EP dates back to the pair sharing a gig in Bristol, with Martyn impressed by Vynehall's Djing skills but not fully aware of his talent as a producer. Requesting Vynehall send him some new music, four of the five tracks Martyn received feature on the Open EP with three present on this 12" edition. If you're familiar with Vynehall's previous output for Aus, Well Rounded and Manmakemusic you'll be eager to wrap your senses around this release, yet the trademark rugged swagger is complemented by an increased attention to detail that hints Vynehall should no longer be cast as a mere 'up and comer'.
Juniper - "Constellations In You" - (7:02) 131 BPM
Review: For this one we didn't know what to expect, as four of the most unpredictable producers across underground bass music join forces across a four track epic, courtesy of 3024. Let's look at Yak's seismic roller 'Lucid Nightmare' first, which uses digitally edited kick drum pressure and funky drum stacks to kick us off perfectly. Next we explore the unpredictable rhythms of 'Bensalem Owls' from Balta, which is followed sweetly by Martyn's experimental masterpiece, entitled 'Everything Is New'. We finish up with Juniper's acidic glitch fusion in 'Constellations In You', putting the finishing touches on a super creative selection, bound to open a few eyes.