Self Doubt (Leaving The Club Early) - (4:33) 129 BPM
On The Lake Outside (feat Baths) - (4:51) 95 BPM
Reflection - (3:30) 60 BPM
Change - (7:12) 160 BPM
Running Like That (feat Eden Samara) - (4:19) 140 BPM
We're Building Something New (feat Iceboy Violet) - (2:31) 90 BPM
Review: Next level freshness by Loraine James goes lengths in bringing a new sonic level of excitement to Hyperdub. With a new album that could be the sound for the summer or criminally not, Reflection certainly represents a soundworld of its own - and amid its wild bass mechanics, crazy sound design and raw beat making, there's a cathartic dose of pop, poetry, R&B, drill and spoken word to subte cross-culture dialogues. Within the album concept lies stand out numbers like "Insecure Behaviour & Fuckery" and "Change" next to the heavy vocals stanzas in tracks like "Black Ting" featuring Le3 BLACK and "We're Building Something New" with Iceboy Violet". With a dubby syncopated beat section coming through in "Simple Stuff", pop gets turnt all the way up in "Built To Last (feat Xzavier Stone)" as do other sidewinding journeys like "Self Doubt (Leaving The Club Early)", "On The Lake Outside" and the title track - all of which reflect on a year in the life of Loraine James and her acolytes.
Review: Whenever a legend returns, it's always an exciting time for underground dance music. Now in reality, you can't get much more legendary than the illusive Burial, who returns to Cargo Records here for a colourful, expansive journey through breaks across two wavy originals. We begin with the euphoric synthesizer drives and nostalgic vocal sampling of 'Chemz', which combines unpredictable breaks with blissful harmonies to kick us off in style. On the flip side, we move back into the abstract depths of Burial's production mind, as 'Dolphinz' explores a nine minute journey through enigmatic soundscaping, with dreamy drones leading the way. Excellent stuff!
Review: Fatima Al Qadiri returns to Hyperdub with a suite inspired by the classical poems of Arab women. Medieval Femme invokes a simulated daydream through the metaphor of an Islamic garden, at the border between depression and desire, where the present temporarily dissolves, leaving only past and future. It follows the two landmark albums she's already released with Hyperdub in Brute and Asiatisch, with Medieval Femme exemplifying poetry of Arab women from the medieval period in a vision the label describes as Fatima seeking to transport the listener to a place of reverie and desolation - and to rejoice in celestial sorrow.
Review: With three releases now to his name Proc Fiskal turns heads more than many may think thanks to the stature of the labels releasing his music. Making his return to Hyperdub with a wholly unique, synthy and melodic sound, Lothian Buses follows up The Highland Mob (2017) and Shleekit Doss (2019) EPs not to mention the Hello Boss record for Om Unit's Cosmic Bridge and his Insula LP. Excited to have him back on the scene, Lothian Buses, a tongue in cheek reference to the largest municipal bus company in the United Kingdom, sees Proc Fiskal send in another load of unusual melodies, twinkling synth effects and caffeinated grime sounds with touches of dancehall, experimental-electronica and much much more.
Review: Inspired by a sound that collides afro house with dancehall and gqom influences - next to flirtations with UK funky and grime - Scratcha DVA's & Baga Man EP inspires newfound influences to thread their way into soundsystem culture. Bringing elements of digi dub and reggae to "Banx Skanx", get your broken beats, playful horns and warped basslines outta "Razzclart". With featured credits given to the likes of Scottie Dee, DJ Polo and Razzler Man next to LR Groove and Karen Nyame KG, get your ambient rave and LA Beatscene synths in "Baga DMs" with a dope alternative version of "Banx Skanx" found in "Murderer's Reprise". Another great addition to the Drmtrk series of tracks!
Review: Keeping the UK vibes strong this December period is Burial's "Chemz", an epic 12-minute number taking in huge inspirations from R&B and two-step while remaining strong in a post-rave and dubstep aesthetic. With honeysuckle lyrics setting the tone of a love song, detuning and warping techniques play a key part in the track's originality while skimming the surface of Burial's muffled noise floors, foggy atmospheres and deep crackle and pop. Both euphoric, hopeful and melancholic it sees Burial deliver another futuristic number of newskool R&B that meets rave, jungle and dub.
Review: Gervase Gordon aka Okzharp has already appeared on Hyperdub before; the artist came through with an unscrupulously future-minded 'bass' EP last year, a release that we thought sat perfectly well within the general Hyperdub sound. He's back after an appearance for Keysound, and he's joined by the vocal talents of Manthe Ribane across these four tunes. "Teleported" proceeds to drop some pure tribal vibes on us, and the tune feels like the soundtrack to a post-apocalyptic film set in Africa in the year 2050; a sublime start to this newfound collaboration, and we recommend this EP for that tune alone. "B U" and "Maybe This" are a cunning reinterpretation of grime seen through the eyes of American soul and blues, while "Piki Piki" is ventures into what we like to call post-r&b; careful now, we don't that is a genre in itself, but rather a great description for what this track sounds like to our ears.
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: 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: 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: 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: 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.
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.
Review: Hyperdub's resident freaky styler DVA throws down a sizable six tracks of loose-limbed cuts that further branch his sound out from his UK Funky roots with typical creative flair. Lead track "Mad Hatter" best demonstrates this, starting life on a live drum stomp before snaking into a broken funk while off-key bass wobbles and manically frayed hits of percussion do the nasty around the snappy beat. Throw in a completely unexpected boogie sample breakdown for good measure and it's clear DVA is having fun in the studio. "Chilli Burrito" is equally deranged in the most essential, party starting of ways, and that's just the tip of the iceberg.
Review: There's always been something rather special about King Britt's ability to effortlessly switch musical focus between projects and aliases. Contrast, for example, the retro-soul giddiness of Sylk 130, the electronic polyrhythms and heavy bruk of Oba Funke, and the trippy electronic darkness of his work under the baffling Fhloston Paradigm pseudonym. This debut album under that alias - on the back of a handful of singles a few years back - is predictably magical, mixing spaced-out textures and stargazing synths with off-kilter rhythms, loose jazz beats and Detroit-inspired grooves. Dark and atmospheric, with a touch of the Jeff Mills about it (certainly conceptually, if not aesthetically), The Phoenix makes for mesmerizing listening from start to finish.
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.
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 ten year celebrations from Hyperdub continue apace here with the second of four planned label compilations arriving with the stated intention of casting "some sunshine" over the label's sometimes "dread filled reputation". Arriving on just one disc this time round as opposed to two, the fourteen tracks nevertheless features productions from DVA, Morgan Zarate, Cooly G, Jessy and Burial among other Hyperdub regulars, who are joined by the vocal talents of Dam-Funk, Fatima and others. Perhaps most exciting is the inclusion of an unreleased track from the defunct partnership of Dean Blunt & Inga Copeland; fans of the latter will also be intrigued by Kode9?s "Lies Lies", which features the talents of Inga in her new solo guise, copeland.