We've been given 2 pairs of tickets to give away to a week on Saturday's Summer Bubblers event at Cargo in East London which features Joker, fresh from slaughtering Sonar, Bullion, De Tropix and the one Alexander Nut.
To be in the running for a couple of tickets simply email us your answer to the follwing question:
James Blake releases his debut 12" on Untold's Hemlock Recordings this coming Monday. He's a member of Mount Kimbie's live show, and melds stunning vocals with equally individual production.
Andrew Lustman’s debut album under the FaltyDL moniker arrived in my possession with little fanfare. In fact I think it was around the same time as the latest Boxcutter album got sent out that I received it, so, in some foolish self deprecation type manoeuvre, I put it on the back burner, choosing to dive straight into the alt-skwee of Barry Lynn. But ‘Love Is A Liability’ is such a stringent work that revels in its simplicity and Lustman’s 2-step infused productions are so insistent and fiercely computerised that it’s hard to besmirch him any sort of positive praise.
Mr Lustman has got incessantly catch garage fuelled beats, which he fully proved with his ‘To London’ track which was released on the excellent Ramp Recordings, and it’s a billion times our pleasure to present you with the 15th exclusive Sonic Router mix and shed some light on the joy that is FaltyDL’s music.
Sonic Router: Can you provide those who may not know you with a bit of background info?
FaltyDL: Shalom. I’ve been livin’ in NYC for some time now making beats, teaching kids and trying to be a good human being. Though its very difficult to do that here in New York. Yesterday I got in an argument with a stranger about something. I can’t remember what, but it was just dirty business.
Outside of music who are you? What do you do on the daily?
I just try and improve everything. My organization, my desktop. I’ve started taking care of issues as they take form; almost foreseeing difficulties in the smoothness of it all. I’ll wake up and have five things on my mind that I need to take care of before lunch. I usually get about 2 done. I walk around a lot eating amazing food and smoking way too many cigarettes. That’s about as good as a day gets.
How did the name come about, do you have a lot of problems with downloading?
I think I wanted FaultyDL but couldn’t spell… so it was FaltyDL when I was about 12 years old. It just stuck.
I heard you were a sushi, chef before you starting hitting the buttons, what’s your signature dish and are you handy with a knife?
Yeah man I used to make this roll called the ‘Ebi Babba,’ Chef Bun Lai came up with this:
1. Skin a potato thinly, leaving a intact 15 inch or thereabouts curling peel. 2. Tempura fry a single large shrimp and let the potato peel soften in the smoking hot oil at the same time. 3. Remove both from oil, set aside 4. Slice 5 or 6 thin pieces of Havarti Cheese 5. Wrap cooled potato skin around shrimp with cupi mayonnaise (Japanese mayo, much more tasty) 6. Slice potato 6 or 8 times for sushi style pieces 7. Place Havarti on top of sushi with an extra drizzle of cupi, dill and chives. 8. Torch for 10 seconds till cheese melts.
That’s the recipe, I didn’t invent it, but I ate it about 10 times a week… Get into it.
How did you get into making music?
I was tired of playing bass in a jazz band…it was all very ‘jazz band’ and I needed a little more control. Now I have almost too much control. Theres no regiment anymore. Its nice.
What’s your production set up like? When did you start producing and what was your set up like then compared to now?
Its been the same since I started pretty much. The center piece being a 6 year old Mac G5 pillared by two massive JBL 4328ps. That’s it really. I mean two Technic 1200’s and a microKontrol help also… But theres lots of vinyl… lots of vinyl…
Coming from New York, which has its own rich garage history - all be it a very different sound to the UK 2-step garage - how did you become infatuated with the UK sound?
Infatuated? Not sure if that’s the right word. Obsessed with? Maybe that’s better. Simply, my true love besides my girl friend… is Jungle. Jungle. Jungle. There’s shuffle in Jungle too. I don’t think a lot of kids know that. Maybe they do. But that’s the dark beauty I think about. Remarc is a bigger influence then the Artful Dodger though… haha! Although ‘Rewind’ is a good tune. Actually check Butler Kiev’s remix on Planet-Mu. Amazing… Speak and Spell action.
Is there a strong scene for 2-step out in the US?
I have no idea. I don’t think so, but maybe...?
“I am so isolated in my tower of undecipherable speech” - Being John Malkovich.
I’m not that good a writer. I tell you what tho, I’m incredibly grateful for a night like Dub War. DQ Joe Nice and Incyde put on an amazingly diverse night. It may be centered in Dubstep, but everyone has played there. I played after Ras G for Christ’s sake two months ago, followed by DJG and Clouds! So yeah, you’ll hear garage at Dub War.
Who from back in the day and from modern music inspires you? You got any records in the collection that might surprise a few people?
I just got Garcia’s ‘It’s A London Thing’ 10”. That’s getting a lot of play at the moment… plus my Luke Vibert collection has no holes in it.
Surprising? Let me go see… Oh, here I have ‘Henry Mancini’ complete with an amazing hairpiece on the cover of the LP.
Your album ‘Love Is A Liability’ is out on Planet Mu. Can you walk us through the concept behind it? How long did it take to put together? Do you believe the title to be true? If so why?
I believed it before I met someone that proved me wrong… But well, actually, yes, yes it is a liability, but one that makes life all the richer. I wrote some of the album shortly before I turned 25, and finished it shortly before I turned 26. Was a hell of a year. A crazy year. Working with Mu has been excellent, Mike P had an image in his head of the album that was at points gruelling for me to figure out how we could meet somewhere. But there is definitely a mutual respect which is awesome.
Although to be honest I’ve been respecting him a lot longer… but I’m very grateful to have had his ear during the process. Truth is, its gotten easier, the second release is already sorted before the album hits shelves.
You’ve got some 12”s out already on Ramp and a remix package on Planet Mu featuring mixes from Luke Vibert and Boxcutter, how did those all come about?
RAMP hit me up and wanted some tunes. I’ve formed a real friendship with Tom over at RAMP. Had a few beers with him in London last month actually. He’s also got a vision in his head. ‘To London’ is a funny tune. To me its so simple. Look at it. Drums, bass, vocals and synth. That’s it. No tricks. People dig it and that’s dope. I heard it at a club and said, “Oh Shit I know this one!”
The remix EP speaks for itself. That’s just a dream remix EP for me there. Mike and Luke have been on my stereo since I was a kid, and Barry helped hook me up with Mu in the first place. Its beautiful.
FaltyDL - Love Is A Liability (Album Preview)
Have you got any other projects dropping after the album?
Yes, there will be more 12”s and maybe something bigger on RAMP soon. Also there is an EP/mini album on Mu later this year. I’m actually more excited about those than anything I’ve done so far.
Are there any plans for UK dates in the coming months?
Yes. I’ll be touring Europe in August. Just setting it all up now; it looks like it’s going to be a real adventure. All over the place hopefully, we’ll see.
Can you tell us a little bit about the mix you’ve put together for us? Does it reflect a typical FaltyDL DJ set? Any exclusives etc etc.
Yeah theres exclusives in there. I’m all over the place with my tastes, I hope to at least cover about a 70 BPM range here. My sets depend on what time in the night I’m on tho. I really want to play at like 7 am. Just play Pink Floyd or something… I dunno.
Have you got any wisdom that you’d like to impose on the interweb?
Treat each other kindly. I’m working on that right now. Not a gem, but a good rule to live by.
To celebrate a heady and hectic 15 year milestone of the undisputed champion of London's pirate radio, Rinse.Fm, Friday 31st July sees bass music's most exemplary club night, FWD>>,go toe to toe with Rinse for a night of the most forward thinking music around.
Scottish label and member of the Numbers crew, Wireblock just got touted as Label of The Month by all round music-knowledge-portal Resident Advisor... And deservedly so in my opinion.
Its like Mr Carnage says: "There aren't many other labels around that would go from UK funky to Drexciyan electro in the space of two releases".
Part 1, Mixed by Nelson Redinho - Boy Racer [Wireblock/Numbers] Cajmere - Percolator [Cajual] Cooly G - Narst [Hyperdub] Ghosts on Tape - Predator Mode (Roska remix) [Wireblock] Lil Silva - Pulse vs Flex [White] Emvee - Glitch Dub [Wireblock] Part 2, Mixed by Spencer Roska - Feeline VIP (Stop Start remix) [Roska Kicks and Snares] Shake - For The Lamented [Frictional] D Malice - Gabryelle Refix [White] Shystie - Pull It (Ill Blu Remix) [It's Funky] Waxmaster - Going Down [Dance Mania] Apple - Siegalizer [Slimting] Manix! - Special Request [Reinforced] DVA - Nasty Nasty Nasty [Earth 616 White] Rustie - Bad Science [Wireblock]
Part 3, Mixed by Jackmaster Radioactiveman - Goodnight Morton [Rotter's Golf Club] Rich Boy - Throw Some D's Accapella [Interscope] Untold - It's Gonna Work Out Fine (dub) DJ Deeon - Freak U Rite [Dance Mania] AFX - PWSteal.Bancos.Q [Rephlex] Human Action Network - Eating Angelic Diamonds [Alphabasic] DJ Assault - Ass N Titties [Assault Rifle] Drexciya - Digital Tsunami [Tresor] Mr. De' - Y2K Bug [Electrofunk] Redinho - Pitter Patter [Wireblock] Ghosts On Tape - Kryptonite (Dub) Ginuwine - Pony [550 Music]
After receiving our first ever exclusive mix from Rekordah and the ensuing banter and file exchanges that followed, I suddenly got all excited by the thought of the Pollen collective and what they were pushing. Whilst Rekordah’s beats were bordering on the ridiculous and completely un-quantizable end of the hip hop spectrum there was this whole super-pitched skwee influenced music fleeing from the headphone port by people like Brackles and Shortstuff.
EFA got in touch shortly after my initial interest spike, plying his label wares and offering his skilled hands and connections to showcase a few of his label’s and his friends unreleased material. Taking him up on the offer was decidedly fruitful as his complex mix of Brackles’ ‘LHC’ and Untold’s ‘Anaconda’ will undoubtedly prove. Oh... and he was kind (and patient) enough to answer some questions for us too. Soak it up and learn something.
Sonic Router: Can you provide those who may not know you with a bit of background info?
EFA: I’ve been DJ’ing various types of music including Jungle, House, Hip-Hop & Dubstep for last 11 years around my hometown of Nottingham and where I’ve recently flung my hat in Bristol. I used to be in an electronic band called Sounds of Science with my schoolmate Curtis Whitefinger who now plays guitar music and I dabble in production when I get chance.
Outside of music who are you? What do you do on the daily?
I’m Daz and to earn a crust I fix computers. I enjoy good beer, good food, country walks & trying to be ethical. I’m also addicted to chilli, love the way it smells, tastes…
How did you first get into recording music? What was it that infected you to do produce?
As a kid I showed a passing interest in the keyboard & guitar so ended up with a couple of them. I fell in love with Jungle at an early age and after getting a copy of Octamed for the Amiga started to dabble in beatmaking. It wasn’t until I was in a band playing keyboard for a bit that I started to take it seriously eventually starting a production partnership.
What’s the big idea behind the EFA moniker?
The big idea was to start a band with my old production partner in Nottingham called “Essential Fatty Acid” - we were gonna do Dub & Funk live with some added electronics. Alas this never happened so I teefed the name to DJ & Produce under – I’d previously used my initials Dr. G.
Whats your production set up like? Has it changed a lot since day dot?
I first started making beats properly in 1998 on a Roland MC303 I borrowed off a guy I used to produce with after showing signs I could do something with it. It was a great learning tool as you had synthesis, effects & midi all in 1 box and all you had to go on was your ears, no meters etc.
After the battery died losing the 30 or so tracks I’d done, the band split up and it was returned to its rightful owner, I didn’t get a computer until about 2005 when I built my own purely for music under the guidance of a friend (It was this which got me into the work I do as well). I then scoured the internet looking for the software that would suit me best and opted for Cakewalks Project 5 and later Sonar which you could rewire the former into.
After bashing out some reasonable sounding beats including a remix of Luke Vibert for a Future Music competition (which was actually won by Aphex Twin after he entered for a laugh and they passed the prize to the runner up) I decided to switch up to Cubase SX3 as it was far easier to use VST’s. Staples include Battery 2, Absynth (anything Native Instruments' good TBH) & Novation Bass Station – I also have a Novation KS Rack synth that I’m currently working into my set up. I monitor on Yamaha MSP5’s with a Tapco SW10 Sub and midi with a battered Edirol PCR 50 that’s too complicated for me to use its advance features.
You’ve been running Pollen the club night for quite some time. Can you give us a brief history?
The 1st time I played Dubstep in a club was at a night called Misst who made me their resident. As the night grew I started to see a divide between the bangers & the deeper, broken stuff which I wanted to push more of. I started Pollen in August 07 at a little out of town venue called Moog in Nottingham which used to host Electronica events until it was sold to some people who used it as more of a Disco/House party bar (legend has it Aphex Twin once played there!).
It’s a great space and I really wanted to bring some modern inventive sounds back and thought it could work there. Aside from the Dubstep I had been listening to a lot of Dub, Electronica and the forward thinking Hip-Hop of Madlib, Dilla, Prefuse 73 & Dabrye etc so I wanted the night to start off with that and move in to the 140 beats. We launched with Geiom headlining and had Gravious, Kion, Hizatron & Russian Linesman play the night amongst others. I pretty much did everything including lugging a Sub into the venue and causing a few noise complaints but it was good experience, I even managed to broadcast a few of them on streamizm.com.
When I moved to Bristol in Feb 08 all aspects of the Dubstep sound were covered so continuing the night as it was seemed pointless. After a meeting with Luke [Rekordah] at a PB Wolf show we decided to start a night focusing on the ever growing continuum of experimental beats and agreed on launching this under the Pollen brand. We did a Lone Album launch to test the water and then our 1st Pollen proper with Mike Slott headlining in November. We’ve since had Actress, Bullion, Lukid, Clause Four, Metske & Slugabed play and will be celebrating our 1st birthday on August 29th with a big lineup at The Croft, Bristol so watch this space!
How did Pollen evolve into a label?
I was being sent so many amazing unsigned tracks that I played at Pollen [Notts] and on radio and Brackles had given me a CD of ‘Broken Harp’ and another Shortstuff bit. I had an idea for the artwork after a workmate sent me some of his photography so it was just a case of working out the logistics. I just felt that what I was doing with the night could translate into a label. I had moved to Bristol by the time I had my 1st P&D offer for the label in March 08 and then the Geiomix came along from out of nowhere a few months later. After some good advice from Geiom I released the record through a different distributor and despite some manufacturing issues & delays we got it out this April.
What are you plans for it? Got any new releases coming up you wanna shout about?
Well since Luke was involved in the night it made sense to have him on board with the label too, especially as I was interested in his beats. We will be putting out our 1st 7” as soon as possible with Rekordah’s ‘Bedroom Suite’ B/W ‘Burger Sauce’ and the next 12” is going to be XXXY – ‘Rain’ B/W a Jack Sparrow Remix. The plan is to put out equal measures of forward thinking Dancefloor & Hip-Hop beats, expect stuff from the likes of Slugabed, Gravious & Ekelon in the near future.
You’ve even got a Pollen show on Dubstep.fm, what’s it like playing out over the airwaves? What sounds are you pushing out to the masses?
It’s a good place to test new music and have instant feedback in the chat and the infrastructure they have in place is amazing, they can accommodate hundreds of listeners at a very high resolution. I try to have as many guests as possible and turn it into a sociable thing, these days I push new and old music starting with the Hip-Hop and into Dubstep and the fringes of what that’s become along with Dark Garage and some UK Funky. I tend to do the shows less these days but there will always be one in the works.
Tell us a little about the mix you have done for us, what tracks just had to be in there?
I wanted to showcase a few forthcoming Pollen bits, the rest is just new & old stuff I’m feeling chosen mostly on the fly which is how I prefer to do most of my DJ sets.
What is the thing that is most exciting you at the moment in the bass music scene?
The inventive use of beats and the slowing of the 140 tempo are producing some amazing music at the moment from the likes of Peverelist, the Hessle crew, Brackles, Shortstuff and many others. I was a little reluctant towards the UK Funky movement at 1st but have started to see its potential for producing both inventive music and chart crossover’s.
The Wigflex boys up in Notts are set to clean up this year crossing Techno & Bass together to devastating effect with a dash of Skweee, watch out for the next Wigflex EP and a Hizatron release on Berkane Sol! The Bristol based Purple Trinity continues to push the boundaries of production and is set to go into orbit this year. Hopefully Rustie will continue to churn out the likes of his Kapsize release which I still cannot take out my bag!
When is the next Pollen night and who’s playing?
The lineup for the 1st birthday is still in the work’s... however I am involved in a thing called Focus @ The Tube, Bristol promoting forward thinking, innovative dance music in all its forms.
Have you got anything else you want to tell us, words of wisdom for our readers?
Don’t watch too much TV and avoid comments sections of news stories and You Tube, they’ll just lower your opinion of humanity!
From humble beginnings in the Whitechapel Art Gallery, the Dirty Canvas club night has succinctly and surgically carved its own niche into London’s nightlife. As the first club night to regularly feature grime music alongside dubstep, garage, bassline and hip hop, they stood as highly vocal pioneers throughout their shows at the heralded regal hollows of the Institute of Contemporary Arts. Since those days they’ve taken their hyper-wiggle formula to the dancefloors of London’s Cargo, Rhythm Factory and 93 Feet East before taking themselves further afield, cross promoting parties in Brighton and Bristol, with Plat Du Jour in Barcelona and taking over The Villa in Berlin back in April of this year.
Friday 10th July sees Dirty Canvas welcomed with open arms into the freshly tweaked soundsystem space of FABRICLIVE’s Room Three. Bringing the proprietor of one of 2009’s most anticipated ‘musical’ dubstep album’s, Silkie, residents Reecha and DJ Magic have irked out one of the most varied bass music lineups you’ll see all month. Alongside Silkie, the Applepips affiliated Brackles will be bringing his sleek, tech infused, super quick mixing to the platters, alongside the dancehall tempered bass pressure of Mumdance and the eclectic selection prowess of Rinse FM’s own Alexander Nut. With MC Badness hosting, the vibe is sure to be on par.
Despite the amount of times you’ll have surely read that “Bristol is like a ‘small London’ in terms of forward thinking bass music,” it doesn’t make it any less true each and every time the overworked sentence is used. In fact, I never tire of hearing it, possibly due to the fact that I am jealous as hell that I've never been. Yes that’s right, like a speng, I have never been. It doesn’t stop me from enjoying the sonic progression emanating from there though, oh no, not one little bit; especially when the likes of Phaeleh arrive in my inbox. He’s carved out the next plate on Surface Tension Recordings, his 2nd for the label it includes his brand new tune 'Lounge,' and its accompanying Geiomix, and his (Phaeleh's) remix of Vaccine's 'Atrium.' Putting the whereabouts of producer’s aside, as it is completely irrelevant when it comes to this release (as the label owner is from America alongside Vaccine, Phaeleh is from Bristol & Geiom is from Nottingham) one vibrancy that brings them all together is garage.
Nobody can disagree with the fact that Garage, (2-step, speed, 4x4 or otherwise) albeit banal in some ways, was never really explored in its entirety, which is a shame as it is considered by a lot of producers to be either their 1st contact with dance music, or even their favourite genre. Examining today’s progression, it’s easy to see how it's sexiness, dance-ability and general vibe has allowed dubstep to claw back a bit of 'musical' credibility and has inspired a generation of producers to push past the aforementioned genre and into a world of moody-but-sexy, swung to fuck drones, with endless possibilities for exploration.
Many producer's, I believe, have used Dubstep as a canvas, adding each genre as a colour to make these hybrid's into something unique and genuinely engaging each time. None so other than the artist's featured on this latest release. Phaeleh’s ‘Lounge’ is an out and out roller, with a tiny little stream of hope included in the shape of the flute featured within, which keeps the progression up nicely; the Geiomix is fantastic, and really does re-carve the original, turning the bumpiness up and out under the kind of melodic progressions grime music harnesses so well. The ‘Atrium’ remix does is for me though, keeping to the OG structure, Phaeleh delivers, driving his smooth sine waves under the loose piano rolls, airy vocals and percussion perfectly.
Nottingham's Dealmaker Records are carving themselves out a serious instrumental hip hop pedigree of late. Not content with simply giving birth to the pastoral synth textures of Lone - one half of the former production duo Kids In Tracksuits who has gone on to sign his second album to Actress' revered Werk Discs label - they've unleashed a second producer whose music is just a stylistically individual.
Keaver & Brause is uniquely just one dude called Tom, but his new album 'The Middle Way' is not by any means a straight up slice of instrumental hip hop; its a collection of 15 tracks thats peppered with ideas, synthesized drones, vocal snippets and impressionable melodies.
Choosing his snatches of melody carefully on tracks like 'Airborn' and 'Summers t'Say' he stutters his drums thoughtfully around the riffs, carving the head nod out of his percussive patterns rather than thumping it forcefully to the forefront of the mix. Tracks like 'Cnsr,''Quasar'and the time stretched opener 'Cleef Rechard' take an incredibly wide birth in terms of cohesive instrumentation but oddly enough its these heavily sidechained almost haphazard beat sketches that manage to make the most lasting impression.
Tight, dense and fiercely characteristic of a producer on the up, 'The Middle Way' breathes life into a beat maker's penchant for harp samples, whilst turning its cheek at every possible moment to obtain that vital mix of variety needed to hold the attention across a long player.
We also managed to steal another exclusive mix from the hands of Keaver to add to our series and it really is a milestone for us as he's the first person to include a track from seminal rapper Bigg Jus...
Another 12” from France’s premier techno infused dubstep label 7even, this time not only featuring long time contributor and proven badman F but also sometime France resident and Hessle Audio co-owner Ramadanman. This is the ninth release so far for 7even and the third by F and let me tell you; once again they haven’t missed a single step.
The original is a deeper than deep mood piece with a 4x4 pulse and subtle pads that gently build over loops that sound like a tiny machine whirring into life. It’s got the ambience and delicacy of Kompact’s ‘GAS’ in the way the elements flow. It’s a sublime composition suited to sunrises and the dawning on a new day.
Ramadanman’s Rerub on the flip takes all the elements of the original and shakes it up for the dance floor; but, as with much of his recent work he’s been turning his hand to many style, from D’n’B to techno and funky, Mr. Kennedy has made this into a tech house meets funky jam, with greatresults. He takes away some of the deepness in favour of the swing and energy, by tweaking some of the elements that were buried deep in the original and throwing them out front and putting it to an almighty soca/house beat.
This is one solid plate from F, Ramadanman and 7even. With each side doing something totally different from the sublime deepness to a bumping tetchiness; it really is a match made in 7even.
A well placed word and eye contact means a lot. If you can team it with a firm hand on the shoulder and a caring smile people might just start trusting you too.
Anyway, I digress... so... when word came through pon the email that I run a "pretty cool" blog it really was do or die. The fact it was concerning a Grievous Angel mix, truly is fucking excellent news if his past works are owt to go by.
This time the Griev's project is in aid of Bristol clubnight Crazylegs who are compiling a series of proper badboy mixtapes just for the shit of it.
With a name sounding straight outta the pages of a Marvel comic, Justin Shields is San Francisco-based producer, Jus Wan. As North-California continues to establish itself as the home of Stateside dubstep, the Bay Area’s leading man serves up a three-course helping for Naked Lunch.
With a clear penchant for the up-tempo, Jus Wan’s previous releases for Applepips and Tube 10 have both been frenetic-steppers that many spinners taking the dub-tech route have found repeated use for. Still sticking with his half-step sensibilities, Shield’s has now chosen to drop the pace down for what’s aptly titled ‘Submersive.’ The result is a heavy, yet deeply emotive dive into sunken-bass, ideal for DJs looking for a new set-opener. Sounding like the lost file in Shackleton’s hard-drive, the following 'QB41’ continues the aquatic vibe, but propels the claustrophobia up a few the notches with its percussive intensity.
Over on the flip, Scuba characteristically plunges the title track several leagues deeper by sinking the bassline even futher and adding more echo to the reverb, before eventually emerging into a chugging 4/4 roll-out.
Overall, this is a well-rounded slab of atmospheric half-step, which also suggests Shields isn’t a producer desperately eager to jump out of the pack. However, with plenty of the newer kids on the block, making cack-handed attempts to desperately progress the dub-tech sound, an artist simply improving his solid work-to-date is no bad thing at all.
Floating Points, aka Sam Shepherd, a composer and producer residing in London via Manchester, has already made an impact on the thriving beats scene after only a handful of releases on labels like Eglo Records (the label he runs alongside Alexander Nut), R2 and now Planet Mu. With a mix on Mary Ann Hobbs’ BBC Radio 1 show already under his belt, he is really making moves and when you listen to his music you can instantly hear why.
‘J&W Beat’ has some of the skippiest funky rolling garage rhythms around, which is underpinned by a seismic dancehall bass, dense melody and psychedelic bleeped out synths. ‘K&G Beat’ on the flip takes things a little deeper with the electronics and pads taking more of a prominent roll. Both tracks have a really warm soulful even jazzy feel but unlike some of Floating Points deeper house/disco style cuts, which are more grounded, this sounds like the ideas where streamed straight from outer space.
Shepherd takes slanted 2-step and hip-hop beats, smeared synths and layers of mesmerising, atmospheric electronic trickery, couples it all with some earth moving bass and aligns the product with that all important slice of soul, otherwise known as the sultry spine that runs through all his work; again proving that he definitely has one of the most exciting sounds on the underground today.
Anyone who attended the last Thugs'n'Hugs w/ Slugabed and Joy Orbison will know whats up.
This is the first mix I've seen pop up from Joy Orbison so I'm trying my darndest to filter my enthusiasm for it, through this text and into your jittering eyeballs.
DJ Deeon – Freak U Rite Zomby – Pumpkinhead’s Revenge DJ Guy – Ghostdick DJ Godfather – Tom’s Bomb 2 Jody Finch - Jack Yo Big Booty (BHQ no acid vocal mix) Nightcrawlers – Surrender Your Love Kings Of The Universe – Acid Love Final Cut with True Faith - Take Me Away Hot City – Hot City Bass Playgroup feat. KC Flightt - Front 2 Back (Todd Terry Remix) Ian Round – Trippin Chelley - Took the Night (Rizzla's Cunty Refix) Benny Rodrigues – I Like Catch - Free (to the point mix) Lil Silva – Different Shortstuff – A Rustling $tinkworx – Coelacanth
With the Portugese sound of Kuduro blowing up, with the scene's main exports, Buraka Som Sistema, going from strength to strength its currently a great time for Portugal's underground music network. Octa Push are a duo who fuse rolling drum breaks with sub bass in a particularly driving minimal style, eeking out a beautifully complex and forceful style all of their own.
Ahead of a couple of London dates and just after their performance in the Red Bull Music Academy tent at Sonar we tracked them down to an IP address to DL their exclusive Sonic Router mix and get the lowdown on what they do.
Sonic Router: Can you provide those who may not know you with a bit of background info?
Octa Push: We're Dizzycutter and Mushug, two brothers from Portugal, we've been making tunes for a while. In 2008 we started this live project [Octa Push] that fuses Garage with Bashment, Afrobeat, Techno and Dub.
Outside of music who are you? What do you do on the daily?
Dizzycutter is Leo a Web/graphic designer. Mushug is Bruno and he studies sound.
How did you first get into recording music? What was it that infected you to do produce?
We both started making tracks around 1997/1998. Dizzycutter used to play drums at a Metal and Hip-Hop band. The band split, and then he started building jungle tracks at home with some material from a friend. Mushug was younger, he eventually ditched his Sega Master System to make beats aswell.
What’s the big idea behind the Octa Push moniker?
It's about pushing octaves, not really underwater hockey unlike most people think.
How did you get into making music?
Last year we were talking about how it was stupid that we were both making music for a long time but we werent collaborating or taking it seriously. Then Conspira - one of the first portuguese crews pushing bass music - asked us if we could play a show at one of their nights. We accepted and started making loads of tracks and found a really silly name. From that point it was on!
Whats you production set up like? Has it changed a lot since day dot?
We're using mainly Cubase, loads of VSTs and midi controllers, pretty basic and simple but we plan to extend it at some point with some hardware! Individually we started making tracks with a small keyboard and a 2 deck tape recorder. After that came Acid and Rebirth using a wack Hi Fi music system's speakers.
How did you first get into the dubstep sound? What was it that sucked you in?
There was this DJ ThinKing mix from 2004 that was really fresh. The music had lot's of space and bass. It's funny because we knew a bit of UK Garage and names like Zed Bias, DJ Zinc, Ed Case, The Streets before but took a while to see a relation between them and the particular sound from that mix.
Whats the scene like out in Portugal? Is it going strong?
Loads of wicked music coming from here, things are really taking off. It's great to see that there's actually a new portuguese sound shaping up, drinking from all the influences of different cultures that this country has/had!
What can we expect from you guys in 2009?
We've just finished a couple of official remixes, one for DJ Znobia and other for Debruit. There's also an original 12" coming out on Iberian Records, it features panamanian badman MC Zulu and cape verdean talent Toni Clean.
As for gigs, we just played Sonar and we're at fabric on June 26th. In July we've got gigs lined up at Cable and Glade Festival.
We're really happy how things are moving...
Your mix represents your live sets quite nicely… what are you using to mix your sounds together live?
We're using laptops, Ableton and MPD samplers. This mix was recorded only by one of us, so live we have an extra couple of arms and more things happening. More dynamic in general!
What can people expect when they come to see you?
Expect two guys pushing buttons while dancing like cavemen.
Have you got anything else you want to tell us, words of wisdom for our readers?
Always take care of your back if you dance like a caveman...
Don't you hate the way European countries get everything we have but in like 5 different flavours that seem exclusive to them? Case in point: Banana and Chocolate Cornettos, Cola flavoured Calippos and the fruit rich Fitness Cereal that kept me super regular in La Herradura last month.
Anyway - Senseless honcho DeVille is back with a Summer selection featuring Joker and Ginz's refix of Basement Jaxx.
Instituto Mexicano Del Sonido - Cumbia (Tom Tom Club Remix) w/ Bun B - Pop it 4 Pimp Acapella Coki & Benga - Night (Sonido Del Principe RMX) Amadou & Mariam - Sabali (Dakunt & Stinj RMX) Basement Jaxx - Raindrops (Joker & Ginz RMX) Pacheko & Pocz - Zarbak Shystie - Bad Gal Bass (Ill Blu Funky RMX) Benga - 26 Basslines (Dubble Step RMX) Sticky ft Marvin Brown - Jack It Up Dizzee Rascal - Bonkers (Club Dub) Buraka Som Sistema - IC19 Maxwell D & Lil Silva - Blackberry Hype DJQ - Shottas (MR V RMX) Stagga - Rockin Down The House Lol Boys/Sukh Knight - Diesel Paint Job Sasquatch - Kickboxer Swindle - A Different World Toddla T - Shake It (Donaeo RMX) DJ Gregory - Block Party (DJ Spen Dub) Untold - Anaconda Iron Soul - Pressure Instrumental Tempa T - Next Hype (Mosca RMX) Roska - Climate Change DeVille ft Violet - Click (Octapush RMX) Metronomy - Radio Ladio (Radioclit RMX) Madeira Limpia - La Lenta (Schlachthofbronx RMX) Boy Better Know - Too Many Man (Heartless Crew RMX) DeVille - Calippo / w Busy Signal - Step Out Acapella Ghosttown - Greezy