Review: Dean Blunt and Arca are back to reign in 2016 with their Babyfather alias, a moody and spectral style of theirs that digs deep into the science of low hertz. The release comes on Kode-9's mythical Hyberdub label, and it's as fitting as one would think: experimental beat structures and odd sonics blend to form a forward-thinking dance sound. "Meditation" is a stuttering, quasi 4/4 groove powered by a grizzly level of bass, and an artillery of black comedy voices spewing from all angles. It's a true UK hybrid, and it is honestly one of our favourite things to come from the label in a while; check the instrumental for a further dosage of weighty percussion. Recommended.
Review: London's pioneering Hyperdub label returns with a hot collaboration between three perfectly matched artists. Female vocalist Jessy Lanza is accompanied by juke specialist DJ Spinn and Taso on "You Never Show Your Love", a rhythmic blend of fast-shooting percussion stabs and Lanza's own R&B vocals, backed by an instrumental version. There's also two tasty remixes, one from the late DJ Rashaad, a master at the juke genre, and 50 Weapons's Bambanou who proceeds to deliver his trademark brand of technoid tribalism. Banger of an EP, through and through.
Review: Mr Scratcha DVA gets deeper and more inventive with every release. And this limited 10" for Hyperdub is one of the broadest, most exciting releases he's put together to date. "Take It All" is a 23rd century ballad with barely any drum work in sight, just pensive bass and a purring alluring vocal. "Worst" takes a more tribal Afro-stomp with system rattling bass and dubby vocal call-outs. "Soundcheck" sits on the right side of weird with its weave of drums, studio FX, reverse twists and a classic soul sample breakdown. Finally Sinjin Hawke takes "Worst" back to halftempo arrangement with more space around the horns and added synth soul. Quite frankly a ridiculously good EP. Don't miss it.
Review: Endgame has released some pretty killer music on some pretty killer labels thus far, but this new EP for London's legendary Hyperdub is a step up. That is not to say that the music he released before was any less good than these three bangers, but this is Hyperdub-approved, as we're sure you'll understand. "Felony Riddim" sets the scene for an EP that is trapped in its own singular web of bass, a raw and adventurous style that is hard to describe due to its multi-faceted nature and aggregation of sounds. If you're into juke, grime, bassline and dubstep, then this will tick all the boxes because it merely uses those genres as a blueprint for something much darker and more cerebral.
Review: It has been almost two years since the Fatima Al Qadiri's debut LP dropped on Hyperdub, and we're as excited now for her follow-up as when we'd heard the first one. This is because Qadiri provides us with everything to satisfy our need states; through an awry and granular sound, the artist is able to transmit a whole spectrum of moods and feelings. This makes Brute an album for anyone, and it can be enjoyed both by the party-goers and the moody corner-dwellers. The intro is a detached sort of skit that distances itself form any sort of shape, but so we're dropped in a post-futuristic world of pseudo grime, broken, detuned techno and tropical electronica. To be honest, there would be no other place for it than the mighty Hyperdub. Big release.
Review: After first emerging with his cosmic electro project back in 2009, King Britt is back on Hyperdub after last year's The Phoenix album with a short but sweet collection of blissed out beat-scuffing business. "Sonic Six" is a true heavens-scraper with its dense layers of broken beats and wistful key lines, loaded with emotive intent and crushing bass. "Faith" meanwhile takes the scenic route through twinkling arpeggios and swooping pads over a blissful 12 minutes, before "Past" meanders into some strange soundtrack-ready excursions of the highest calibre. It's another stark and surprising artistic statement from one of Britt's most adventurous aliases, and it sits just right on Hyperdub.
You Won't Find It Here (VIP) (Alex Deamonds remix) - (3:12) 65 BPM
You Won't Find It Here (VIP) - (3:58) 65 BPM
Review: On her latest release for Hyperdub, Sara Abdel-Hamid is in as eclectic and confrontational a mood as ever, delivering razor sharp modernist beat constructions and mind-bending synth work to get the dance well and truly hyped. From the cavernous drum throwdown of "Position" to the melancholic, melodic reflection of "Praxis", the Ikonika style is ever broadening and ever unpredictable. There's also snappy electro stylings to be enjoyed on "Strawberry Underlay" and poppy house overtones on "You Won't Find It Here (VIP)", while Perc and Alex Deamonds turn in remixes that bring completely fresh perspectives to her music.
Review: The third full-length album from Steve Goodman comes weighted by the untimely passing of his long time sparring partner Stephen 'Spaceape' Gordon, marking the first time he has flown solo on a long player. Stylistically the production reaches out into many of the spaces you might expect of the Hyperdub label boss in this day and age, from rapid-fire threads of footwork to hyper-modern house mutations, but by and large the clean, crisp and angular flair that embodies the Kode9 sound is still very much intact. At times the sparse concept behind Nothing can feel positively unsettling, as on the eerie "Zero Work", but there is still plenty of room for the playful lead lines that shed light into Goodman's brooding sound world.