London-based Exit Records is a forward-thinking drum and bass label, founded by dBridge in 2003. Focusing on deep, cutting-edge, often experimental and minimal DnB, ‘dBridge strikes a careful balance between releasing music that serves a purpose for dancers and thinkers alike’. Exit artists include well respected scene names: Skeptical, Dub Phizix, Calibre, Alix Perez, Fracture, Zed Bias, Fixate, Itoa, Synkro, Sinistarr, Gantz and more. From Dub Phizix, Skeptical and Strategy’s ‘Marka’ to Jubei’s ‘Cold Heart’, Exit keeps pushing boundaries.
Review: Other than being one of drum 'n' bass' long standing veterans, Darren White aka dBridge was a key player in the late noughties seminal Autonomic sound. White continues to this day with his half-time experiments in the genre's grey area on his respected Exit imprint, where he presents his latest effort M|E: an album of live, one-take recordings using varying hardware synths, samples and guitar pedals. He explores a multitude of styles: from the immersive ambient opener "The Beginnings End", to the brooding soundscape of "Addicted To", the nightmarish ritual rites of "Your Angel Shouts Through Demons" and the imaginary sci-fi soundtrack of "Idols Yet Unheard". All-in-all another fine example of the veteran British producer's multi-faceted style.
Review: The combined sounds of dBridge & Madison Willing join forces on this tidy new drop, returning to Exit to explore a truly masterful collection of original productions. We begin with the truly emotive string designs and bubbling drum intricacies of 'Made In Silence', which sets a sombre tone from the jump, topped with angelic vocal displays and moody basslines to match. From here, the delicate percussive flicks and mystic pad textures of 'Set Me Free' again explore the emotional feeling that runs throughout the heart of the project, before we dive into more precise rhythmic arrangement and ominous pad design on 'One Note'. Finally, 'Pulse' delivers what feels like a perfect outro, exploring all of the themes of the previous three originals and giving us a crunchy landing to finalise a very well thought out tracklisting.
Review: It's always exciting to see a new sonic adventure land from the Exit crew, who this time welcome borderlandstate_the best kisser in l.a for four tracks of digital destruction. We begin with the uber glitchy electronic designs of 'Direct Message', utilizing bit crushers and clicky percussion for a truly unique sonic experience, before dives into a groovy 2-step arrangement, again topped with lazer-like displays of juice. From here 'Cas_9' then arrives for a crunchy waltz through swampy synth slaps and organic drum sounds, before 'Arena4' gives us a soundscape-driven outro, focussing on up-tempo post-d&B designs to round off with the EP with some apocalyptic finesse.
Review: Exit records OG Fixate finds himself back in the house once again with this four-track Confusion EP. Turning in three solo numbers and the one collab with the rarely seen Greazus, Fixate looks to tribal percussion, spaciously warped beats and atmospheric drum and bass languages across his three solo originals. "Confusion" is the highlight most will gravitate too - perhaps appealing to a Livity Sound inspired listener through its percussive and UK bass elements. "Scotch Bonnet" sees stuttered and falling drums disintegrate into a whirlpool of deconstructed bass only to reform as an easy-going, dreamy house loop. For the real Fixate steppers look to "Dawn Chorus" to get the heads nodding, alongside "Elbow Room" with its spooked-out melody line and straight up future drum and bass repute!
Review: As the esteemed Exit Record label explains, producer and percussionist Rajeev Maddela, aka Currency, aims to bring a refreshingly human approach to electronic music composition with Humanism. By exploring key features and concepts inside of Ableton, the artist worked with drum triggers and chance melodies in the search of highlighting the expressive qualities of natural time, while embracing a deep obsession with late '90s breakbeat culture. Approaching each track as if it were from a series of 'photographs', the music explores a realm of MIDI-art with a focus on minimalist production ethics, percussion techniques and high tempo ambient grooves - all in the name of giving currency to your present state of being.
Sun People & Yorobi - "Dark Days" - (4:55) 107 BPM
Transitions - (5:41) 107 BPM
To Give - (4:16) 53 BPM
Main Squeeze - (4:17) 107 BPM
Rich Man Poor Man - (6:38) 80 BPM
Spirits - (4:19) 107 BPM
Review: Kicking up some new, dusty and frenetic sounds for Exit Records is the emergent Sun People, a solo project known for stand out releases before this on labels like Modern Ruin, Disko404 and Hyperboloid (thanks to a rare 2015 long player). Concentrating here once again on the EP format, Sun People conjures up a mixology of uptempo and hybrid fusions, be it the juke and drum and bass induced "Rich Man Poor Man" to the fluttering percussion and subbed-out basslines of "Spirits". Deeper, stuttering footwork sounds make it into "To Give" (an EP highlight) with some edgier, topped-out drums keeping it levelled in "Main Squeeze". Rain dancing with Sun People.
Review: A brand-new album from dBridge? What did we ever do to deserve this? We're not sure, but what Weak Or No Signal absolutely is is a treat, a special present to take us into 2021 and it sees dBridge returning to 170bpm in a manner we haven't heard in quite some time. Almost this entire album sits at drum & bass tempo and the creative ethos present chimes with dBridge's spotless history of production innovation: sparse, abstract and yet grounded within the urban groove of drum & bass' storied past. Let's start at the end, with final track 'They're Listening', which sets the percussive tone early on and doesn't stray from it, a remorseless stepper which is placed in eerie soundscapes and foreboding ambience. There's bouncy basslines on 'Dark Plains', hypnotic synth work on 'HMT13' and nonchalant funk on 'N0rm'. A sensational LP from one of the masters.
Review: Visible on the drum and bass scene for some five years now thanks to records with Beckett's Rudimentary and DJ Madds's Roots & Future labels to others like Bad Taste and the solitary outing that launched Side Orders last year, London's Itoa returns to Exit! This Melba EP follows up 2018's Ever Orbit EP that's spearheaded by the largely ambient "Melba" that sees its percussive counterpart fall into a sub-frenzied new rhythm halfway through. "Leather & Lace" sees disjointed beats and syncopated rhythms fall and twist around a new school bassline and footwork vocal stutters, while diving into deeper tribalistic and urban rhythms is "Flow". Add some staccato acid lines to the juke joint of "Glow Coma" and you're met with a fresh batch of hybrid sounds from an already promising producer!
Review: Fire in the hole! Fixate returns to Exit and he's bringing some absolute weapon's grade material. "Close Call" fires the first shots and it's a full-on jungle affair, all warped basslines and nasty choppy breaks. It's backed by three more deadly dancefloor pieces; "Fixate" is all about the hardcore vibes and the iconic detuned synths, "Morbid Chatter" flips for a sexy robo-funk half-time gyration session before "Wrong Foot Forward" closes the EP on technoid footwork note. Watch out for the lasers!
Review: Fixate on Exit Records. Do things get much better than this? We don't think so, as one of the genre's masters of jungle and its offshoots steps up onto dBridge's legendary imprint to offer a masterclass in how to create slammers with a soul. The title tune is classic Fixate, as chopped up vocal samples pepper an arrangement of diving reeces and tumbling breaks. It smells of rave culture and it goes just as hard. The other two tracks are less dancefloor focused but just as fantastic, with 'Hold That Thought' stepping and stepping with a techno light hypnoticism, acid stabs and percussive depth moving in and out like the flits of a ghost. 'Tic Tac' rounds things off in swaying, stabbing form, and it's safe to say that this is an Exit classic.
Review: Whenever we see the names Exit & DBridge attached to the same project, we know we are in for a hell of a ride, a theory that definitely rings true throughout this stunning new project entitled 'Inhibited'. The LP consists of jaw-dropping originals, showing off just how far ahead of the game DBridges drum construction and general sound design is at this point. From the melancholy clipping of percussion of 'Ether' and emotional atmospheric journeys of 'Climb Together' to the super techy metallic switch ups of 'The Frame', the project covers so much ground! Our initial highlights have to include the glorious harmonic structures and lo-fi percussion runs of 'December's Soul', alongside intense, alarm like synth design of 'Beg, Steal & Borrow'. Amazing work!
Review: Now this is most certainly an interesting one as Exit unveil yet another incredibly unique project, inviting the sounds of Borderlandstate and The Best Kisser In LA in together for an incredibly vibrant five track selection. This is electronic bass music in it's most creative, kicking off with the glitchy computer bleeps of 'The Happy Goose' and post-breakbeat fusion of 'SE17'. Up next, the incredibly colourful percussive flavours of 'Pattern Collapse' and spacey, spooked out sub pressure of 'Interlinked', before the industrial rhythms and choppy vocal layers of the title track 'Hello Mainframe' round us off with a final dab of flavour.
Review: Is Jack Stevens a butcher in disguise? Because he's certainly gone HAM on his Workforce project this year. A dominant force throughout 2019, the SpectraSoul member has dented our playlists and collections with three weighty EPs this year; two on his own Must Make imprint and now this end-of-year curveball on Exit. Six track in total, each one digs deep into the foundations while sounding like nothing else being made right now. EP essentials include the unapologetic bashment of "Take Your Time", the savage two-step and Quarantine headbutt of "Didger", the industrial funk and technoid dynamics of "Make Me" and the dark sensuality of the title track. But to be honest every track is essential. This is seriously high grade stuff.
Review: It's always exciting to see a new Exit release drop into this store, especially when they are as beautiful as this latest collection from Lewis James, under the EP name 'The Death Of Habit'. From start to finish, this one is a glittering display of soundscaping genius, combining the gentle harmonic bliss of 'The Sorrow In Ronan' with the outstanding vocal displays of Alia Fresco on 'Worth The Pain' and gnarly tech flavours of 'Acidize' alongside DBridge to kick us off in style. Next, 'Triangle' provides more experimental drum work and epic spacey pads, before Lorn's exceptional input on 'No Team' ties us up nicely.
Review: So what do we have here, we ask ourselves as we unwrap this tasty looking selection from Blackpocket and Steve Spacek, courtesy of the legendary Exit imprint. What we in fact have is a perfect example of soundscaping at its finest, kicking off with the aquatic drips of the title track 'ALAYLY', the stunning, lofi vocal work of 'Footsteps' and crunchy percussive leads of 'In Da Back Room'. Next up, the super trippy synth expanses of 'Organic Tech', followed by the electronic explosions of 'Sho U' alongside Fatima and the smooth soulful harmonies of 'Wake Up Feel Good'. We round this one up with a look at the 80's inspired drumwork and distant vocal presence of 'Worlds Together', polishing up an extremely interesting project from start to finish.
Review: The ever-unclassifiable Darren White opens the lid on what we hope to be a series of remixes from last year's long-awaited sophomore solo album A Love I Can't Explain. Naturally the remixes come from the most left of fields. The Fear Ratio (James Ruskin & Mark Broom's apocalyptic fractured downtempo alias) takes "Nauchtlus" to even starker, darker, spaced-out pastures than the original while Kahn wraps "They Loved" up in a thick carpet of emotional haze and sends it off to the furthest corners of the cosmos imaginable. Unexplainably awesome.
Review: In case last year's long-awaited sophomore solo album A Love I Can't Explain wasn't enough for dBridge fans, here's another mini album. Seven tracks deep, originally complete with his photobook capturing his closest friends and family in the game, once again it sets us off on a unique path that could only be paved by the uncompromised Exit founder. Highlights include the Detroitian dirge "Hidden Intention", the total synth theatre of "Tear Me Open" and the woozy outer-planetary wonk of "Echo Chamber". Beguiling.
Review: A soundtrack to a bleak, imaginary environmental catastrophe movie: Dolenz isn't messing around here with his debut album. But then would you expect anything less from one of Exit's most esoteric beat-meddlers? As the bleak concept suggests, there's no cosy warm feel good flavours here, this is forefront fusion with a strong message. That's not to say it's not beautiful in its own barbed way (the delicate, soul-weighted "Seed Mantra" will stop you in your tracks, we guarantee it) but the main theme is subversion, wooziness and that ominous feeling everything is ruined and we're past the point of no return. Highlights include the establish banger "Pull" with Guilty Simpson, the rusty warped merry go round "Main Theme" and the broken-glass-in-space cuts and stabs of "Hydrofracker". Singular.
Review: The Fibonacci Sequence is in everything... It's in the patterns of pinecones, the eye of a hurricane, the swirl of the galaxies... And now in your own collection as man like Skeppy returns with his first fresh produce since his debut album last yeah Enjoy This Trip. Four cuts deep, all rumbling with Skeptacular bassweight, it's a stark return to form for the influential producer. "Charge" is a proper bulldozer roller vibe, "Snail Trail" is a graveyard ballet creeper while "Mechanism" has a proper waspish mischievous buzz running through the groove. Last but not least we have the deep brooding title track. Proper percussive rolling headnodder, fans of "Imperial" will be all over this. Exceptional.
Pull (DBridge's Push Me remix instrumental) - (3:47) 100 BPM
Review: Previously spotted eavesdropping on Exit in late 2017, Balamii badman Dolenz returns to dBridge's mothership with another unique, scorched hybrid "Pull". An exploration of gravitational force, matter and the universe with Guilty Simpson, Dolenz's original is a futuristic gritty hip hop bruk-up while the remixes take it to a range of different places... Darkhouse family add a whole new dreamy layer while bossman dBridge brings a clanking, bashy industrial funk to the blend. If that's not enough, jump straight on the stinking bassline swagger jam "Turn It Up" for even more gravitation forcefulness. Heavy.
Review: Snapping at the heels of his recent collabo with Total Science, Metalheadz mandem Jubei makes his Exit debut with these two outstanding pieces. "Cold Heart" is actually pretty warm hearted with his signature synth whirls, hopeful chords and those rolling, almost Calibreish breaks. Meanwhile "Just A Little Dubplate" does everything you'd want it to from its title; it bumps, rolls and comes with a heads down guarantee. Heavily rotated at last year's Sun & Bass, we've been waiting for this for a while now.
Review: So let's get this straight... This year Exit have released albums by dBridge and Skeptical, they've shut us all up with Itoa's debut, blasted us away with Strategy's first production EP, remixed the Dickens out of Zed Bias and slapped us silly with Fracture's turbo Berghain and they still keep hitting us? This has been amazing year for dBridge's label and this return to their longstanding Versus series with Dub Phizix and Fixate is a massive juicy cherry on the top. "Hotfoot" is a shaken halftimer with gutter bound textures on the low end while "Babalugats" takes us on a tour of Turkish steam baths in a tank made of trap. No fussing here; 2018 has been a certified killer year for Exit.
Review: Things don't get much better than dBridge's Exit Records and long-time collaborator Fracture is back on the imprint for a technically outstanding and creatively remarkable piece of dance music. We haven't tied it to a single genre on purpose, because from the outset this releasee is too diverse to be pigeonholed. 'Soudboy Get Nervous' is a stuttering, loping cut backed up against an urban soundscape of warbling basses and pointed synth jangles. 'Turbo Toms' is almost a hardcore cut yet possesses a certain uniqueness in the monotony and repetition, it's different in a way that's hard to put your finger on, as is 'Makes Me Wonder', a more recognisably D&B cut with a pulsating back end. To finish, Fracture has chucked in 'No Screwface', an almost ambient jungle slice that steps over into juke boundaries as much as it makes you smile. Top, top quality release.
Review: With the time rapidly approaching for Skeptical to bring forward his 'Enjoy This Trip' LP on Exit, we have been blessed with a serious sample of the goodness to come in this brand new dubstep design by the name of 'Nebula'. Right from the off we are brought into a cohesive sphere of spacious atmospherics, crunchy dubbed out drum work and some seriously haunting bass leads, growling away beneath the composition. If this is just the taster, we can't wait for the full project to hit the shelves!
Give Up The Ghost (Calibre remix - feat Nasrawi) - (6:25) 171 BPM
Pick Up The Pieces (Skeptical remix - feat Boudah) - (5:19) 170 BPM
Review: Following last year's exemplary album from the Manchester-based soul man Zed Bias, Exit unleash the first batch of remixes, and they come from two of the best in the game. Calibre first "Give Up The Ghost" with rolling subtleties and a warm, alluring drive that only he can do. Skeptical takes care of the second remix with a similarly on-point twist on "Pick Up The Pieces" where a menu of alien tones and textures lurk and linger in the cavernous spaces. Both deliver.
Review: Exit continue to stretch and flex their remit and our own horizons with this EP from brand new Toronto artist Groves. Dubwise hypnosis sessions, all shaking around the 160 mark, each cut taps heavily into the roots with warm bass, epic space and clean, sparse elements. "Tengmo Rah" is all about the bounce while "Muuf" is a much roomier brew with cavernous bass space and eerie sci-fi synths. Elsewhere "Ginza" is the most direct, aggy mechanical funk workout with rifle-like bass stabs, trippy droplets and spasmodic drum flurries when you least expect them while "Isopod" signs, seals and delivers this gully dispatch with stuttering drums, skippy fills and an impending sense of dread that you're either stuck in a metallic maze of tiny tunnels or you've left the oven on (whichever prangs you out more) In summary: Essential Exit business.
Review: Within the drum & bass community, dBridge's 'Exit' imprint has become synonymous with innovative bass music, pushing the boat out into plenty of steams a new. To finish off the year they join up with London's own Fixate for a firecracker of a six tracker. The title track 'What Goes Around' is an instant jungle favourite, complete with 8bit synths and rapid percussive elements. Other highlights include the half-time madness of 'The Rig Monkey' in collaboration with Skeptical, the techy unpredictability of 'Firewater' and the dancehall inspired arrangement of 'Murderers Dance Too', complete with wonky leads and awesome percussive riffs'.
Review: dBridge & Skeptical: do we even need to say any more? Two natural bass innovators repping two separate generations colliding once again to create two singular slices of 170 rawness. "I've Seen" hits heavy from the off with a very Book Of Bad style heads-down gurgling bass roll and an ace sample about a whole other deadly type of material. "Poor & Poverty" flips a whole other CPU of switches as we're taken deep down the digidub rabbit hole. Rolling at halftime speed but punching with soundclash weight, in some ways it takes us back to their first collaboration "Move Way" from 2013 but with less bashment feels and more technoid paranoia. Kindred business.
Review: Next up on dBridge's Exit Recordings is newcomer Dolenz, an established DJ who can be found on the airwaves via NTS, Radar Radio and Balamii. He is currently working closely with the label: following this single there are talks of a more expansive project on the horizon. Described as a futurist at heart with an aesthetic kept firmly in the present, yet informed by what has come before him. His first appearance came via Sonic Router in 2015 with the release of the Hysteresis EP. His influences stretch far and wide - from MF Doom all the way through to Aldous Huxley. Both "Evesdrop" and "Sum Drum" are very urban/street influenced jams that are heavy on the low end while "Geminus" is by far the most interesting cut: it nails the label's half-time/grey area aesthetic, while delving into exotic realms at the same time.
Review: Oh boy... Dave Jones has blessed us with six Zed Bias album (his eighth album in total if you include his Maddslinky LPs, and you really should) and the world immediately feels like a nicer, warmer place. Building on his deep foundations of space-aged soul, roomy drum arrangements and raw emotions, Different Response is riddled with timelessness and atmospheres that resonate with every corner of the dance from soul to jungle to techno; the slight vapour trails of Dego and powerful vocal pull of Eva Lazarus on "Restless", the gully gospel of "Lost Souls" with DRS, the cosmic synths and rattling footwork of "Just Like Ohm" and the badded up turbo bruk of "Jibba Jabba" are just some of the many delicious highlights on offer here. No one does it like Zed.
Review: Another unique concept from two scene sages dBridge and Kabuki: New Forms was a series of nights in Berlin's legendary Watergate where the guest DJ would come over early and make a track especially for the show. Stray, V.I.V.E.K, Kid Drama, Cooly G, Addison Groove and Zed Bias all got involved, each with exceptional results; highlights include Bias's UKG influence on the string-led "Tune In", the harrowing choral rhythmic element and necksnap breaks on the Stray-related "With U" and the shadowy dub caverns of the V.I.V.E.K-vibed "Dem A Sleep". Each tune only made for the purpose of the New Forms night itself, these were never actually planned to be released. Count your blessings daily.
Review: If in emergency, "Break Glass". Even if you're not in an emergency, break it anyway... Mark System has turned in yet another clutch of unparalleled modern-but-rooted drum & bass constructions and emergencies are kicking off left right and centre. The title track fuses many ideas from halftime to techstep in such a liquid-yet-dramatic way, it's followed by the deeply paranoid riff-laced creeper "600k", the alien mutoid bass weird-funk of "Obnox" and the insistent synth-stabbed techno-minded "Dissolve" before "That Freestyle" brings home the techstep bacon with strong notes of alien jazz. Genuinely one of a kind; System we salute you.
Review: Back on Exit for the first time in over three years, Phizzy makes up for lost time with four slack-kicked blunderbusses. Raw, swaggering and more G'd up than a weekend at Ascot, "Hack" slaps with a twang-happy guitar lick, "Rebel Spirit" turns you into a ping pong ball and ricochets you down a mile-long aluminium tunnel while the brilliantly titled "(Right I'm Gonna Get Shedded This Weekend & Eat Some) Spinach" is based a precision processed vocal loop that flickers around the cast iron hustler riddim. We flex deeper for the steppy "Subway Swingers" before Mr Phizical closes on a blues nightmare scenario - droning beats and glistening guitars aplenty, it's the Manchester man at his deepest and most introspective. Fire.
Review: Skeptical & Alix Perez... Contemporary drum & bass production tag-teams really don't get any sharper, deeper or slicker. Following previous collaborations "Elephant Dreams" and "Room 667" with four stark cuts, get ready for a lean, mean adventure: "Without A Trace" grunts with a grainy textured hook that's one of a kind, "Solitude" stutters and wriggles with minimal mystery - each of the key ingredients comprising a beastly groove that defies the sum of its parts. Further into the odyssey we hit the incredible oceanic synth bliss, cosmic soul and jungle tidal waves of "Taurus" and get our creps stuck in the gooey swampy halftime gully soup of "Killa". Crucial.
Review: Beware of the Naine Rouge! A Detroit folklore tale that contextualizes the city's spates of bad luck dating back over 300 years, local machine-abuser Sinistarr pays homage to the unique myth with a set of unclassifiable dancefloor smoulder sessions. Two major league tag-teams hit from the off as techno don Stingray313 pairs up for the loopy kickdrum stamping "Track 1" and ghettotech godfather DJ Nasty joins him for a furious footwork fire up "Shake". Elsewhere we get speak & spellbound on the dark stepper "Nonlinear Threats" and "I Pop, I Jit" shakes and stutters with such a rhythmic infectiousness you don't want it to ever end. Another perfect Exit release.
Review: Chimpo on Exit. Is the world ready for this? Probably not. But since when did that stop guys like these? Especially with Trigga and Fox going toe-to-toe on the motorway-shredding rampage session "Ram Dance Man". Elsewhere "Bedsprings Riddim" warms up with sultry, jazzy come-to-bed tones before dropping into squeaky dancehall hanky-panky dopeness, "Suga Rush" has a touch of the old schools to its pads, breaks and pitched up vocal sample while "Stanna Stairlift" eases us into the groove with soft goosebump pads before dropping into some broad canvas stroke breaks which wouldn't have gone amiss on an old Big Bud record. Magnificent.
Review: DBridge continues his consistently innovative vision with a whole stack of newness. We launch into his cosmos with the truly unique "Too Late", a deliciously slo-mo soul record that almost sounds like it's made to appear like it's on half speed. Pensive, gradual and measured with strings, lilting pianos and his own falsetto, it's total future soul complete with two equally forward-thinking remixes from staple label peers Stray and Spacek. Deeper again we hit "Gone Before Dawn" which steps, cautiously, with much more of a barbed tech aesthetic. We hit "Better Than The Pain", a languid sci-fi Heart Drive special and close with the woozy feels of "Coz My Love Is" a record that sounds like jazz, recorded underwater, somewhere near Detroit with Amp Fiddler. Beautiful.
DBridge/Skeptical - "No Discipline" - (6:24) 174 BPM
DBridge/Alix Perez - "Through My Eyes" - (6:17) 170 BPM
Review: Darren White aka Dbridge has been carrying out some wicked experiments in what circles have described as the 'grey area' between deconstructed/post Autonomic drum and bass and techno/house. The outsider journeys kind of continue (though don't get too outlandish, rest assured) on VS004, with White teaming up with Metalheadz' Skeptical for "No Discipline" featuring a dark sub bass pulse carrying its dystopian atmosphere; the subtlety works wonders on this effort. Next up the label head honcho teams up with Shogun Audio's Alix Perez on "Through My Eyes" a lush and liquid deep drum and bass journey with a nod to legends of the craft like Marcus Intalex or LTJ Bukem.
Review: Fresh from his key role in the Richie Brains nerve centre, Fixate returns to Exit with four more head-bendingly innovative sessions. "March On" lives up to its name with militant halftime snare-rolling chutzpa, all stompy and slo-mo techno in its nature and attitude. It's backed by some equally deadly troops: "Bandicoot" twinkles with trinklets of cascading tones over an Ivy Laboratory-style drum arrangement, "Turbocharge" strips back the vibe with relentless juke-style vocal shots and ghetto-tech energy while "Molecules" takes us back to the Indian motherland for a spiritual scrub. You can see the grime sliming from your every pore. Show us a chakra.
Review: Unless you've been asleep since March or you've accidentally found this review while looking up an old school mate who happens to be called Richie (or Richard) Brains then you'll know EXIT played this mystery out in style. We all had suspicions on his identity but not even the biggest forum nerd could guess that it's actually Alix Perez, Chimpo, Fixate, Fracture, Om Unit, Sam Binga and Stray. Seven men, each one decorated and respected, their skills culminating in a body of work that's part funk ("Game Shades"), part Carptenarian cinematica ("Sk8 M8") part woozy, wonky halftime ("The Blips") part grime ("Bring Dat Back") part D&B beauty ("Voyage") and all gully. It's going to be hard to find a release more deserving of the title 'album of the year' this year.
Review: Damon Kirkham long proved his status as a man of many genre-blurring aliases and projects before he added the Kid Drama moniker to his discography. Three years on and it's proved a worthy creative outlet for the Convex Industries man, and the Covering Ground EP finds him back on Exit, the label that debuted the Kid Drama sound. Ranging from the deep dark pneumatic rolls of "Red Magic" to the somnambulant soft-focus steps and alluring chord chang of "Luv" by way of the autonomic skips of "Wasted Time" Kid wears his heart(drive) on his sleeve throughout. Genuinely sublime.
Review: Fresh from his "Hammerhead" escapades on Aquatic Lab, Dave Jones dons his Zed Bias guise for another slippery bass session. This time he takes the footwork formula and twists it inside out in a way only he knows how: "Driftin" soothes with jazzy chords and velvet vocals from Zoel Violet, "Fever" is all about the dense physical drum arrangements while "Hipbounce" is a sonic sandstorm of soca and occasional UKG bass belches. Unique as always.