Big Up Seven

BIG UP SEVEN / $6.99

PINCH // TES LA ROK // JAMES BLAKE // ELLEN ALLIEN // ALBOROSIE MIKE MITCHELL // ARCHAN NAIR // JOSHUA MAYS // CHOR BOOGIE

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BIGUPMASSIVE Noele Lusano’s cumulative

Computo is a freak accident victim with the born-again ability to fold sound in upon itself.

You might find him pounding expensive music instruments with a rubber mallet... or chewing on aluminum foil.

play counts for Ralph Tresvant’s “Sensitivity” (Spring 2010): 44 and counting.

Tomas is a DJ and distance runner, who writes about reggae, electronic music and politics. When he’s not talking dub with Sicilian blood brothers like Alborosie, he’s probably catching up on the Jamaican news, loading up Serato with music or running 10 miles on dirt trails in Golden Gate Park.

Aeneas Panayiotou loves Hong Kong style ice lemon tea and vanilla flavoured Dunk-A-Roos, but not the plain kind though... rather the ones with rainbow coloured sprinkles in the icing.

Yes, Aeneas does adds the letter “U” to words because that’s what Queen Elizabeth II expects him to do.

Dials lives in the Mission district of San Francisco, California, enjoys music, sunshine, and lemonade.

Catch his mixtapes at rivaldials.com or his remixes at soundcloud.com/rival_dials.

He will deejay your house party, wedding, or corporate event. No requests. rivaldials@gmail.com

Alex Incyde is a DJ and producer in NYC, often distracting himself from coaxing weird sounds out of his computer by promoting other people’s music, throwing down beats at Dub War, and managing the Hotflush label.

Sara “hera” Ajiri is a first time contributor, long time reader. When she’s not chasing basslines in stilettos, Sara can be found in Los Angeles where she runs Eleven Eleven Agency.

Donnie Valdez aka EshOne is usually busy airbrushing on griptape or creating Wordpress themes. A vinyl purist with no turntables, and an aspiring film photographer who has yet to develop any of the many rolls of film in his bag... He may or may not start what he finishes. And that’s his choice.

Stephen aka SNF hosts the weekly program Steppin’ into Tomorrow on Dubstep.FM, produces a podcast and writes for the blog dubstepped. net. He’s deeply into percussive music emphasizing the low end from dubstep to jungle to hip hop and everything in between. Outside of music he’s occupied by science graduate school, public education, and political action. Forward!

Ivy Something is the Artist Development Manager for Dustmite, SMOG, and Rita Lux.

New York based James Healy produces and deejays under the name Escape Art while running the Agriculture Records.

Devon Chulick is a one time evil advertising executive turned good. Now company director of D-Structure, a San Francisco clothing company and store.

He can be found bearing his amazing chest hair when not running around in a tuxedo.

Luke Argilla aka Lukeino is a music producer and bass music enthusiast who can usually be found in the studio creating fresh jams to play out at one of his shows in San Francisco, handling business for Sublife Recordings, or rocking dance floors from Los Angeles to NYC.

Josephine Tempongko, aka DJ Pandai’a, is always hungry.

Shilo Urban aka DANCEFEVER5000 worships on the altar of the dance floor and wants to share the music she loves with the entire world. She writes for over 30 music industry publications, works for Alpha Pup Records, twirls swords and has a waiver. Sign it.

Ryan Gilbert is a producer, writer, publicist, and DJ living in San Francisco.

When he’s not at the controls of his website, Staylucid.com, he likes to enjoy holograms, lasers, trees, coffee, and bicycles.

Yuan Zhou’s recent most used phrases are “Work from anywhere I want is SO great!”, “...I might move to Europe!”, “Haha!”, and “I want to try!”

John Dawson, aka DJ Fidelity, likes to conduct experiments in sound and bass music. Keeping his ear firmly to the ground for interesting new aural treats, producing introspective mixes, and writing tracks.

Ric Baker aka Bakir and Daniel Karz-Wagman aka Dubsworth form a live project The Spit Brothers.

The two also co-run the record label Dubs Alive and have had releases on Badman Digital, Fullmelt, Brap Dem, Bassism, and Sub-Life.

Justin Stephenson aka Puppy Kicker is one bad mutha. Don’t fuck with the Puppy Kicker.

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A graduate of Berkeley’s Ethnomusicology department with a severe case of OCD when it comes to grammar and sentence structure, Jasmin Tokatlian a fi murder any tinpan article ‘fore come to print... seen?

Sam Supa is SF’s local pusher of dubstep and other bass music. He has been playing records for years starting out in the early rave and breakbeat techno days. He is co-founder of Surefire Productions and has held residency at Grime City the west coast’s longest running grime and dubstep night.

Aaron Zimmermann would like you to know that he writes music under the name Misk, has recently been convinced to cut dubplates, and thoroughly enjoyed all 40 seconds of the SoCal earthquake. You can find him asking yet another bartender if they carry real absinthe, and settling, yet again, on Newcastle. Download his album at www.misksound.com Betty Nguyen is whatever you want her to be: she knows what sounds good, and what good looks like as curator / DJ for art, festivals, and www. firstpersonmag.com

BIGUP SEVEN ARCHANNAIR 6

I realized I need to live my passion, and art is my life.

So I quit everything and completely immersed myself in this new beautiful world!

JOSHUAMAYS

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I get caffeinated to the point when my mind is all tingly and start transferring the ideas into actual drawings.

CHORBOOGIE 32 I look at my spray paint, my tools of communication, as one of my own children I have to look out for.

PINCH

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Some releases will sell more and be more popular, but I still think it’s important to put out tracks that are significant for other reasons.

TESLAROK

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My creative land is pretty abstract... Full of weird object, happy colors, people talking like whales, no words, and everyone living under water.

JAMESBLAKE

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I don’t want to be the WTF guy forever.

MIKEMITCHELL 42 I just like the contrast of frightening and adorable, I think it catches a lot of people off guard, and I dig that.

ELLENALLIEN

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One day I decided to put my speakers up high on the windowsill and turn the volume up so everyone in the neighborhood could hear it.

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ALBOROSIE

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Pro Tools globalized music.

So a youth from France or Jamaica can have the same sound because everybody’s using the same programs, keyboards and plug-ins.

Kush Arora, Noah Bennett, Drew Best, Griffin Boggl, Whitney Champion, Devon Chulick, Josh Couto, Karen DaVanzo, DJ Dials, Djunya, D-Structure crew, Lud Dub, Delphine Ettinger, Chandra Ganguly, Matt Geiger, John “Somejerk” Gregory, Dean Grenier, Allison Harrell, Nyla Hassell, Alex Incyde, Jessica Linker, Kutz, Joshua Mays, Olga Melnikova, Gary Montoya, Mishka NYC, Natures Mistake crew, Joe Nice, Aeneas Panayiotou, Red Sky, Ryan Romana, Sam Supa, Scion team, Seckle, Surefire crew, Lee Taylor, Jasmin Tokatlian, Donnie Valdez, and Anna Wachter.

The advertising, features, and reviews appearing within this publication reflect the opinions of the respective contributors, and not necessarily those of the publisher or its affiliates. All rights to art, writing, photos, design, and/or likeness and copyrights are property of respective owners, and no assumption of ownership is made by this publication or the publishers. The publisher will be glad to correct any mistakes or omissions in our next issue. The content may not be reproduced in part or in whole without written permission from Big Up Magazine and the respective contributors. ©2010. Big Up Magazine.

Big Up Magazine, PO Box 194803, San Francisco, CA 94119, USA

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ARCHAN

NAIR

Swirling neon strokes, divine feminine curves, dripping irridescent liquid, vivid florals... spending time inside one of Archan’s pieces is a true feast not only for the eyes but for the soul. “Hailing from New Delhi, India, he allows his vibrant culture to influence his intricate designs. Archan has produced visual art for huge global entities like Microsoft, Canon, and Sony, but don’t let that fool you into thinking he has a corporate heart of coal. He just might be one of the most personally grounded, happy, and spiritual artists I’ve ever had the pleasure of meeting.

After playing tag for almost two weeks damn this 14-hour time difference Archan was finally able to chat with us about his gorgeous work, life philosophies, and painful yet very fruitful path to becoming a true artist...

interview by Jasmin Tokatlian

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Mazachigno

Heya Jasmin!

How are you?

I’ve been good – creating so much! I need to take time off from projects to travel… but I’m enjoying it. Let’s do this!

How did you get started as an artist? Did you know at a young age that this is what you wanted to do?

Well, my life has been a roller coaster ride, and never did I imagine myself as an artist.

Maybe because in India, people do two things: work in a multi-national company, or carry on a business. And we were never conditioned (by parents or school) that art is a field. We were never taught that one could live through creating. So it was always a hobby, you know? I was always an art appreciator, and I was quite creative during my younger days, but that was just for fun.

I realized I need to live my passion, and art is my life. So I quit everything and completely immersed myself in this new beautiful world!

I started working at a very early age, when I was 18, and joined my family business in the fashion industry. Until the age of 24 I was an entrepreneur. We were doing very well, and working with some of the biggest names in the fashion apparel retail market. But it was my travels, and engaging with the community, people who I met within the art world who motivated me to start doing something.

It was a 14-year-old friend in the US who casually gave me his work to fiddle around with, and I had some fun. I got hooked on it!

And I started creating.

Back in mid-2006, every day I was making one thing or another. It was so much fun. I was creating a lot, both in the office and at home, and day by day I became more serious about my passion and what I was discovering. In 2007 I realized my ambition is not my family business… it was never that way. I came into that due to circumstance. And after going through some interesting question-andanswer sessions with myself, about life, etc…

I realized I need to live my passion, and art is my life. So I quit everything and completely immersed myself in this new beautiful world!

Is your family supportive of what you’re doing now?

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Initially they said I’d gone crazy and lost my mind! Even friends, everyone! Nowhere for miles does anyone in my family know anything about art. They never understood what I was doing, and said leaving everything and doing something without knowing where it would lead to is insane. They even advised me to do both together. But I decided I have to completely be dedicated towards what I love.

I think art for me is just a path or journey to find answers to my inner questions.

After seeing the materialistic success or whatever satisfies their hearts, they are happy now. They know I’m happy, and so are they. But they definitely were an element of confusion, and my thoughts and ego were clashing too, which complicated my decision.

But I finally made a call – it had to be yes or no. It was the ultimate decision of my life, and so I went with my heart.

Well we are obviously very happy that you made this decision for yourself! The titles for your pieces (“Our Own Self Conflicts,” “Memories We Fall For,” “Anguish”) suggest some personal meaning. Is creating artwork a healthy way for you to deal with your emotions?

I think art for me is just a path or journey to find answers to my inner questions. What I create is an expression of my feelings or state of mind – I love sharing that more in the visual format than in words.

Who are the characters in your work? There are lots of beautiful women, some children, a man here and there... are they inspired by real people?

Yes, very much! My work is about phases or moments of life. If I use characters, they are just characters inside me, or elements depicting my feelings. But I love giving them form or shape that way.

Is there a stream-of-consciousness style to creating your pieces?

It really depends – sometimes it can be very well conceptualized and visualized beforehand, and comes out very close when it is born.

Sometimes the process is natural and flowy, and comes spontaneously. It could change in the middle from what I have visualized to become something new and amazing!

That is not surprising, as there is a very organic quality to your work. It truly is beautiful.

Joy Ballad

Hi Archan!

Thank you so much, Jasmin!

Several of your pieces (like “Touch”) are in black & white and use just a few muted colors here and there. But most of the others, like “The Peacock Dance” (one of my favorites) are exploding with bold and neon colors. Why do you like to use such vibrant tones?

I think colors showcase my positive attitude, energy, and happy personality. But more than that, they reflect the Indian culture, where I have grown up, how much I am influenced by it, and how deeply rooted it is within me. They come out so naturally to me.

How much of your art is inspired by your Indian roots?

Well, direct influences are very rare. Like “Kathakali” (based on my interpretation of the Indian dance form Kathakali) – it’s mostly the flavor of India you’ll see there. A lot of works which don’t have an Indian theme or style will definitely have flavors of India. So my ideas and themes are not based on India itself – a lot of them are not – they can be anything. But the detailing, influences, and environments certainly are.

I love seeing two such distinct and beautiful art forms come together, like visuals and music...

Do you collaborate a lot with other artists?

Yes absolutely! Not a lot, but sometimes. It’s fun, engaging, and a great experience to learn more – especially with photographers.

Your list of clients and recognitions is very impressive. What was one of the more memorable projects you’ve created for someone else?

Ah yes, it’s been fun working with them!

Exciting projects, actually. I think each was special in its own way – like the IE8 project had integration with 3D and animation, so I got to learn new technology. The Tiger Beer project was complete fun and they asked me to let

loose. I love it when clients appreciate creative ideas and are willing to experiment.

Working with music artists is fun too – they give creative freedom and let you go wild, which I love. And interpreting music into a visual format truly enriches the senses. I love seeing two such distinct and beautiful art forms come together, like visuals and music, or food, or smell. Food is a form of art too!

Cooking, dancing, sculptures, they are all forms of art and expression.

How important is music in your life? Do you listen to anything specific while you create?

Music is my friend, my love. I work alone all the time, so I socialize with music…

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Candy Sweet Skull

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Kathakali

Spirit Cove

I listen and talk back. I love all forms of music, anything that has soul and rhythm, and a lot of energy. Mostly electronica, chill, psytrance, trip hop, even rock and some forms of indie, and classical music as well.

I listen to a variety, shuffling all day long to keep myself fresh and inspired.

It sounds like you’re very open to all sounds—it is wonderful when people enjoy different types of music, instead of only listening to one genre or band.

You can’t grow artistically that way!

Absolutely!

Any favorite artists or producers at the moment?

Recently I’ve been listening to The Green Man, Emancipator, Names, Balligomingo, Shulman, and Massive Attack… they are awesome!

You’ve been very busy lately – tell us about some of the projects you’re working on now (without giving away too much).

I’ve been doing a lot of exciting things!

Planning exhibitions, client projects, art directing projects (motion and print/ 12

illustration) for some brands in Europe. I’m also involved in something which is very very exciting! You will surely hear about this last one very soon. I can’t say anything about it right now, but I’m too too excited about it.

Congratulations, even though I don’t know what it is! We’ll keep our eyes open.

[Laughs] Thanks!

Music is my friend, my love.

I work alone all the time, so I socialize with music… I listen and talk back.

When you create something for a client, do you ever experience a lack of inspiration?

Not really – I’m always inspired and have extra ideas jumping out of my head. Plus the process for commercial projects, in terms of approach, makes it easier to handle them.

piece is a part of this universe, an element, I should say. And so am I. They all are special. I really can’t choose one, it’s impossible!

Is creating art relaxing for you, or do you find that you have to do something else in your spare time (if you have any!)?

Living is creating for me – it’s like how I breathe. I enjoy spending time with family, friends, watching Nat Geo, or checking out nice restaurants. I love food! All cuisines, Mughlai and Indian mostly.

If you could travel anywhere in the world tomorrow, where would you go?

Anywhere, really! Without plans or fixed ideas – I think that would be more interesting and exciting. I’ve never done that, and it must be liberating. I spontaneously said that because every time I think of traveling, about where I should go, my mind goes blank. So I think the answer is: anywhere. Let the journey take you!

Anyone you want to Big Up?

Do you have a favorite piece? Or any one that really sticks out in your mind?

Very difficult… there is no favoritism! Every

I’d like to thank you and Katya for taking your time for this wonderful interaction, and appreciating my work!

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photo byLiz Eve

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PINCH Rob Ellis, also known as DJ Pinch, is widely considered to be one of the pivotal ambassadors in the dubstep scene today.

His album Underwater Dancehall is still a seminal source of reference when describing the dubstep sound. And his DJ sets strip back the stereotypes and bear a forward thinking attitude to music.

With his successful label, Tectonic, a slew of top producers’ collaborations, and no fear when pushing innovative sounds, it’s no surprise that Pinch is big in the game.

interview by John Dawson

Both Tectonic as a label and you as an artist, have walked a long road over the past five years.

Where would you say it all began?

Initially, I was a bedroom DJ, playing jungle for many years.

Getting bored of the music coming out of drum and bass at the time, I began playing more eclectic, deeper minimal techno and garage until a friend of mine, Jamie Vex’d, suggested going to check out FWD>> in London, which was a bit of an epiphany for me. Hearing Kode9 play put it all in perspective, having not heard dubstep through a system before, or in a fully mixed context.

About 2004 I decided to get involved and put on an event, Context, playing dubstep, electronica, and jungle. But after a few months that became predominantly dubstep. Next thing after that was the bi-annual Bristol event Subloaded. By the end of the year I’d set up Subtext, the first label, with a few friends and then a year later Dubloaded, the regular monthly event that carries on now…

Were you writing music at the time?

I dabbled to start with, writing a few jungle tunes until 2004 when I began to make dubstep… It totally absorbed me, containing elements of everything that interested me. About that time I was working on some tracks with Ginz, known as P-Dutty, called “War Dub” and “Alien Tongue” that became Tectonic 001. Then, there were only about half a dozen records that could be considered proper dubstep – everything was being played entirely off dubplate.

So I started writing tracks, swapping dubs, and cutting plates.

To be honest with you if there had been a dubstep night set up in Bristol, I probably wouldn’t have bothered. The height of my ambition at the time was hoping to hear someone drop my tracks at FWD >>.

Starting a record label is a bold move. What motivated you to form Tectonic?

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range. It will be powered by the snare but there will be a lot of space. The effect of this in my opinion is that it provides a more meditative context. The absence of this frequency range and lots of bass creates an immersive sound, whereas using lots of midrange has a very alerting effect on the listener. It’s an exciting effect but doesn’t allow the more meditational aspects to come through that I Some releases will particularly enjoy. sell more and be more

I wanted to have my own label to put out tracks people had sent me that were never going to see the light of day. And that was the birth of Tectonic. Selling records was a real struggle in those days.

[Laughs] I’m talking about it like it was 40-50 years ago, for example, with Subtext there wasn’t a single distributor that would take on the shortest run of records that would cover the cost of pressing. So I had to sell directly to shops in London and Bristol, finally managing to get a bit of distribution over three separate companies, but it felt half-assed on their part. Whereas record sales are a bit tough today, there’s a market for dubstep now.

others but touch wood, there’s not been any sign of anything not breaking even yet. Some releases will sell more and be more popular, but I still think it’s important to put out tracks that are significant for other reasons.

An example of that would be Tectonic 010, a four-track EP by Moving Ninja with two tracks that were practically beatless.

Did you have any difficulty being taken seriously in the beginning?

It’s evident that some believe there is a generic sound to dubstep, while others acknowledge its diversity and ability to draw upon different influences. Would it be fair to say that Tectonic supports the artist’s intuition and ability to reinvent a sound?

We were quite lucky with the success of Subtext, the first label we set up. The tracks were solid and had crossover appeal, John Peel was playing them on his show before sadly passing away.

So essentially that helped us in setting up Tectonic, working with one distributor after that, and receiving support by DJs.

popular, but I still think it’s important to put out tracks that are significant for other reasons.

Yeah, in the case of “Get Up,” all the artists (except RSD) asked if they could do a remix ‘cause they liked the track so much. Remixes always come out better when someone really wants to I can honestly say there is do it. There was actually

by Skream – he a lot of genuine love [that one wanted to change the has] gone into Tectonic. drums but never got round to it, so will never likely see the light of day.

Did you always have a vision for But to elaborate, it is a source the label? of frustration to me that a lot of people consider dubstep a The idea was blandly simple at very small window that reflects the time – set up a dubstep label only one aspect of the sound. I and put out great tracks that I had guess it’s quite inevitable. When access to. I had faith in it, believing dubstep was a small thing for in the music and knowing this was relatively geeky people that were what I wanted to do. into music, it was a more diverse and deeper sound. The more It takes a huge amount of popularized it has become, the effort and man hours to create more people cling on to the something with longevity. What popularized elements. do you think has helped you provide a product that stands I have a theory about these the test of time? mid-range frequencies, the same frequency range of the human I can honestly say there is a lot voice, around 1–3 kHz. Our ears of genuine love [that has] gone are highly trained to pick up these into Tectonic. You couldn’t have frequencies. However you’ll notice a viable business if you were just a lot of early deeper dubstep does about breaking even all the time. not have a lot of this frequency Some releases sell more than

That’s an interesting theory; I’d never really considered it to that length.

[Laughs] I could go on forever with half-cut, half-baked theories of mine based on no science and a lot of guesswork.

Your recent release with Yolanda, “Get Up,” is BIG! Tell us a bit about how it came about…

It is the most recent release but I wrote the tune nearly three years ago now. I think retrospectively “Get Up” was one of the biggest tunes from the album, especially in terms of the response. Yolanda laid vocals on the original track but when I went to put out the album, the vinyl release was strictly instrumental. So, as the remixes started to build up I though it would make sense to put them out as a package, a little bit late maybe, but I still think it works.

Personally, I love what’s going on with the techno and dubstep crossover productions that have been emerging over the past few years and look forward to hearing more. Do you have a similar intrigue in this area?

I like certain kinds of minimal and experimental dub-influenced techno, and have liked it for a long time. I’m not very knowledgeable about it as a subject but Basic Channel was a primary inspirational factor.

To be honest with you, I have a bit of a bee in my bonnet about the whole dubstep and techno crossover as a concept, it feels artificially constructed.

photo byLiz Eve

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There was a period when things were happening naturally. I’d started writing a few tracks and Perverelist was working on tunes that seemed definitive of that sound, then I signed 2652 to the label. Both artists have very naturally mutated the ideas of techno and dubstep together.

The dubstep-techno crossover was written about before it got a chance to breathe naturally.

As a result, in terms of journalism and the general public, it was dead before it really happened.

The problem is with music journalists looking for the next big thing. The dubstep-techno crossover was written about before it got a chance to breathe naturally. As a result, in terms of journalism and the general public, it was dead before it really happened. There are artists doing it for the right reasons but then there are some saying, “That’s what I want to do, get some records out,” and artificially combing two genres, the results often being very boring.

Tectonic and its newer sister label Earwax come across as well organized and forward thinking. Do you drag in any coworkers to help keep things on track?

Tectonic, Earwax, Kapsize, Caravan, Build, and previously Subtext are all labels that operate from a company run by four of us called Multiverse, which was set up back in 2004.

Certainly in terms of Tectonic I do all A&R and label management. Fid and Jabba work on the digital releases, organizing all the metadata.

For Caravan, October is in charge of the A&R, and Sid helps with the running. Kapsize I look after entirely on behalf of Joker. Between us we decide on what goes out.

You just put out the fourth album on Tectonic, Unbalanced by 2652. Are you or any of the other artists working with the label planning to get another album out in 2010?

Yeah, hopefully you’ll see two, maybe three this year, certainly two. One is still top secret at the moment, an absolutely enormous project that will hopefully come out in June, but I’m going to have to bite my lip on that for the time being. The other will be a Jack Sparrow album anticipated around September.

There is a wealth of good DJs and producers out there that look at what you have achieved for inspiration. What advice would you give to those serious about setting up a label?

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Specifically, when setting up a label, don’t bother unless you’ve got something different to offer, and the same goes for being a producer.

There are a lot of dubstep labels, more than I’m aware of. There was a point in early 2007, I believe I had everything that was considered to be dubstep. It has spiralled on and now there are labels in Bristol that I don’t even know the names of.

If you’ve got an idea, music, co-producers, and a certain continuity to your sound which is different than what’s out there, then I would say yes, start a label. But it’s actually quite foolish to set up a label if you haven’t thought past the first or second release. The bottom line is, if you believe in it, then you’ll find that other people will too and buy it. Whether I or anyone else thinks that’s good or not is irrelevant.

Agreed. Your DJ sets have taken you all over the world. What’s the most vibrant crowd you’ve played for recently?

Gosh, Helsinki was great! And Dundee, I thought I was going to be beaten up and deep fried. My favorite place in the world to play though is Tokyo, I’ve played there three times. Otherwise, Dub War in New York, I’ve played once and it was a really good experience. Just under a year ago, I played in China. The Shanghai crowd was just off the chain. Out of 500 people not all of them were used to dubstep but there was a definite contingent. By the end they were banging on the walls for rewinds.

Any interesting anecdotes from recent travels?

I guess the last time I was in Japan I was with Steve Lynx and MC Kemo, who decided we were all going to a Japanese karaoke session on the last night we were there. We ended up bawling out karaoke in a small room in this huge building in the centre of Tokyo, which was quite bizarre. You haven’t lived until you’ve heard Steve Lynx singing “Running up that Hill” by Kate Bush at 6 am.

...When setting up a label, don’t bother unless you’ve got something different to offer, and the same goes for being a producer.

Where do you think the dubstep scene and sound is heading in 2010?

I’m usually quite reserved about this question as I don’t like to cause any offense, but I’m going to push the boat out on this one. The

very aggressive, mid-range wobbly sound that certainly dominated last year is at the peak of the curve and will start rolling down, not being such a dominant force later this year. What will pick up more and more speed this year will be the very Joker-esque, synth-led sound with emphasis on the heavily swung rhythms.

Purple Vibes?

Yeah, the colorful synth sounds… They captured people’s imagination towards the latter part of last year but this is the year I think it will all take off. People like Joker, Gemmy, Guido and others will be at the top end of that vein of production.

The very aggressive, midrange wobbly sound that certainly dominated last year is at the peak of the curve and will start rolling down, not being such a dominant force later this year.

What can we expect from Tectonic this year?

Well, the next release is by Pursuit Grooves, based in New York. She produces, sings and emcees on the tracks, and is definitely the first non-dubstep release on Tectonic. That will be a six-track EP on vinyl, seven-track CD. You know, she hit me up on MySpace and I thought, “Fucking hell, why has nobody signed this!?”

She sent me some more tracks and I told her, “I don’t necessarily think this is the right label for it but if nobody else is putting it out, I’m putting it out because it’s really good.”

Aside from that there is a very big remix project I’ve been working on for some months now with a few well known dubstep artists, and there’s also a very well known legendary figure on the buttons remixing the whole thing.

Any personal goals you want to achieve?

Just a continuation of what I’ve been doing for a while with a bit more added focus. Stepping up the level of productions now, I’m getting a grip on Logic, I just bought a mixing desk and some new outboard hardware. My studio is a mess of wires at the minute…

Finally, any BigUp’s to friends and famo?

Big Up to Lizzy, Big Up the Multiverse crew, and Big Up to the Bristol dubstep famo!!!

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20

Solution 1

JOSHUA MAYS Joshua Mays daydreams about freedom, beauty, love, movement, passion, life and much more.

Joshua is an artist without a sketchbook.

His drug of choice is coffee. And when everyone else is sleeping, Joshua is transferring his imaginary ideal world onto paper creating some of the most beautiful imagery.

interview by Katya Guseva 21

How did you start on your path to being an artist?

What was the funniest comment or question you got about your art?

I looked at drawings my older cousin made and saw faces looking back at me. I was three when I saw his drawings, and I was intrigued by them. They’re still stuck in my memory. Those drawings were better than anything I’d ever seen before. So then I picked up a pencil and never put it down.

A couple of women asked me if I could paint them naked and I could tell they didn’t care about the art. That doesn’t happen often though. [Laughs]

So what’s your creative process? How do you start working on a piece?

I have a routine. I go to a cafe and sit there for hours with a stack of magazines. I just go through them looking for ideas and photo references. Sometimes I find faces and emotions that inspire me and I start drawing them. I get caffeinated to the point where my mind is all tingly and start transferring the ideas into actual drawings. Then I go home and my first work shift is over. Then I wake up about 2 o’clock in the morning and paint through the night til 8 am.

That’s intense! How do you know when the piece is done?

Sometimes I don’t. Sometimes I can go forever. But I try to prevent that, ‘cause nothing else gets done when I keep working on the same piece. I think that’s what a lot of artists struggle with. There’s always something more to develop, but it’s about learning to cut it off.

Another thing is I always want to utilize all my ideas in one piece. That can be seen as a weakness, but on the other hand all my pieces are bubbling with shapes, textures, and colors, because I’m constantly filling them with different ideas. But I could also mess up a really good idea I started off with by doing too much to it.

Do you ever have creative blocks? And what do you do to overcome them?

I scribble. I sometime get to a point where I don’t have any ideas. So I get a pen full of ink, just make lines and be satisfied with the fact that I’m making lines. And usually when I make enough lines I see something, and I push that something. I try to draw everyday.

You probably have piles and piles of sketchbooks.

I’m not good with sketchbooks, I just draw on pieces of paper. I’ve neglected sketchbooks. People give them to me left and right, but it’s been a few years since I’ve actually gone cover to cover in a sketchbook.

I just carry my drawings around in envelopes.

22

I get caffeinated to the point where my mind is all tingly and start transferring the ideas into actual drawings.

I get a lot of people asking me what drugs I’m on when I’m doing my art. I don’t take anything to create. Most of the time, I drink coffee or black tea. And even though I’ve had experiences with drugs, it doesn’t affect my art in any way.

Almost all of your pieces have female characters in them. Who are they? What is your personal relationship with them?

It goes beyond admiration. I adore the women in my paintings and drawings. I am creating female deities, storytellers and explorers. Women are awesome and always visually compelling, I am always inspired by pictures of women and women in actuality.

I have been self-conscious about the constant appearance of women in my work before, but it makes sense for me.

I think if you have a fixation of some sort, you should go fully into it, and truly explore it to the fullest. Don’t think it’s weird or strange or whatever, it’s just something I’m truly fascinated about, and the specifics of it are yet to be discovered.

The most successful collaboration projects are when everybody is doing their job, without getting in each other’s ways.

What is the message you’re trying to convey with your art?

Freedom, creation, beauty, desire, lust, love, self-examination, wondering why I’m here, asking lots of questions, being human, music, rhythm and melody, motion, passion, life – these are all ideas coursing through me and when they exit, I transform them into paintings.

I love the work you’ve done for Label Who your covers for their releases are

absolutely beautiful! How do you like working on collaborations with musicians and other artists?

I’ve done lots of work for Label Who, doing all their visual marketing and covers for their albums. And I gotta give a shout out to them! Collaborating with artists is a fruitful experience.

I usually start with a conversation with an artist to see what they want. Then communicate what I hear and see in their music myself, what I think will fit visually with their sound.

It always helps when there’s less conversation about business and more about what will look good. ‘Cause you know people want to sell units, but the best stuff happens when people think about selling and marketing after the piece is done. You can think of how to sell a piece after the art is done and is pure. The most successful collaboration projects are when everybody is doing their job, without getting in each other’s ways. When there’s trust for the artist and trust for the business people to do their job, that’s when it shows in the final product.

Have you done any portrait work?

It always helps when there’s less conversation about business and more about what will look good.

I’m weary about doing portraiture. Most people will have expectations on what they want to see when they commission you.

If somebody does want a portrait, I show them what I do and what it’s going to look like. If they like it, and let me do what I want, I might do it. But yea I’m not much into doing portraits; I did some portraits of people I admired when I was in my preteens: Michael Jordan, Vanessa Williams...

But I feel less in that direction nowadays.

The other reason is I guess I try to stay away from reality, I try to create my own ideal world and my own ideal imaginary scenario.

Whom would you like to Big Up? Big Up to D-Structure, Thinkspace, The Krate, my mom and dad...

23

Song and Savior

24

The Collector

BIGUP SUB. US Subscription = $19.99 International Subscription = $34.99 BigUps to the Big Up subscribers family!

You keep us going UP and FWD!

Yes, we know you can buy Big Up from your music or book store. And you should. But these cover mixes are only available with subscriptions.

Issue 4, SUMMER 2009

MALA // FLYING LOTUS // ADRIAN SHERWOOD // RUSKO // MODERAT // CYRUS // WARRIOR QUEEN

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TES LA ROK They’ve called him “Finnish answer to Kromestar” and “the Nordic dubstep star,” but by now Tes La Rok has earned international recognition and no longer needs to be compared or labeled based on his location.

With two dubstep sing-along anthems “Round the World Girls” and “I’m in the VIP” behind his name, Tes La Rok has been featured on key dubstep compilations, has toured the world, and runs a successful dubstep label Noppa Recordings and the biggest dubstep night in Helsinki Slam It. Somehow, he still stays a down-to-earth guy who’s making beats and finds time to chat about music, life, and inspiration... interview by Katya Guseva 26

photo by Michael Mann

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photo by LeenaHongisto

I think the first time I heard your dubstep production was when the Argon Records releases came out.

Oh yeah. I’ve got three 12” releases on Argon. First one was the biggest one, “Round the World Girls.” Second one was “Under the Dancing Feet” remix, and then “Round the World Girls VIP.” Oh man! “Round the World Girls!” It’s pretty much a classic. How important was this release in your music career?

Now looking a few years back I can see it did have a big impact on my career. At that time I didn’t really understand it... Heck, when I finished that tune I kept it locked for three months. I didn’t play it to anyone ‘cause I wasn’t sure how people would react to it, because it was a vocal tune. A few weeks before the DMZ second birthday party I played that tune to my mate Dead-o (Clouds) and he was like, “Man, you gotta give that to someone!” And I did as he told me to. I gave it to Nick and N-Type. The rest is history.

Do you have a lot of gems like that which you keep locked now?

I do have lots of tunes I’ve kept locked for years. Some remixes I didn’t want to give 28

out. I’d say only 5-10% of tunes I make end up being released. When I make a tune I never actually plan on releasing it.

I just make tunes to play out. That’s why my album project has been so challenging, ‘cause now I’m actually making tunes thinking they’re most likely going to end up on the album. Not all, but most.

I think sub-genres kill the creativity. Producers are afraid of crossing the borders and would rather stick with the same old...

Are you saying your approach to making tunes has changed ‘cause you’re making them for the album? Does that mean you’re shooting for a different vibe? Or are you just treating the production value more carefully?

I think a perfect album is something like Roni Size’s Reprazent or Photek’s Modus Operandi or both Burial’s albums. They all have a theme that carries through the album. I did have that sort of approach when I started producing it, but somewhere on the way I just realized that my production varies a lot and that I want my album to sound like Tes La Rok. Today I can make a

deep dub tune, tomorrow I can make a tune with a bassline from the year 3020. So yes, the approach has been totally different from doing singles. I’m trying to get that vibe that carries on through the whole album but still fits in all different styles together!

Also when doing a single you kinda have to think a bit about the DJ aspect. You don’t have to, but subconsciously you do. With an album you can focus less on the DJ aspect and roll with any idea you have.

You seem to have started making these deep, mellow, very beautiful tunes, quite different from the beats you’re known for.

Is that something you’re trying to make solely for your album?

I wanna try my hand at more melodic stuff. Different tempos, too. I’m maybe more known for my reggae and dubwise productions, which are close to my heart.

But as an artist I always want to try and produce different kinds of tunes. I wouldn’t get satisfaction from doing the same stuff all over again. I could have done dozens of “Round the World Girls” or “Up in the VIP”s or “Bass31”s. But it just wouldn’t be challenging! Keep it versatile! Do what no one expects you to do! That’s one reason why I gotta big up Skream. That man can produce anything from hard basslines to dub.

The tricky thing for me is to get them to all fit in one album. But I will figure it out soon.

What do you think of the new directions the genre is taking?

I do like a lot of artists like Starkey, Hudson Mohawke, James Blake, FaltyDL, etc...

And it’s definitely one of the dubstep future sounds. I believe there’s still lots of things to be discovered. I believe we only scratched the surface so far! See what people said about drum and bass ten years ago: “It’s dead,” “Nothing new’s gonna happen.” And now guys like dBridge are doing new exciting things with that bpm!

The only thing I hope is that dubstep won’t split like many genres have.

I love to go out and play sets with all different flavors, from Pangaea to Joker to Mala to Jakes. It would be a shame if it would split into many sub-genres. I think sub-genres kill the creativity. Producers are afraid of crossing the borders and would rather stick with the same old... I love the way Joker put it: “I don’t make dubstep, I make music.” That’s it.

I can sometimes sit in front of my screen for hours not doing anything.

Literally hours! And then the idea comes from somewhere.

I often see your name misspelled: “Tes La Rock,” “Tes La Roc.” Does it mean anything?

It doesn’t really mean anything. Scott La Rock was big back in the days. Lots of people think it has something to do with Nikola Tesla.

But no. It just came out like that. Sounded right, felt right. To be honest there used to be a ski jumper from Slovakia or somewhere nearby and his name was Rok Benkoviz and I thought, “Damn, Rok is the name!! I’d love to be named Rok.” So that’s why I spelled it Rok and not Roc or Rock.

Ah, it would be interesting to make the connection with Nikola Tesla, the wireless energy guy...

[Laughs] Innit?! I could make up a story about it, but it wouldn’t be cool. I do like the idea about Nikola Tesla’s earthquake device! That would be like a dubstep tune with mad bassline!

Haha, yea! Tell me about Tes La Rok’s creative land. What is it like there when you get into the zone working on music?

Oh man... I can sometimes sit in front of my screen for hours not doing anything.

Literally hours! And then the idea comes from somewhere. And when I get into the zone I can work on a tune for ten hours.

Good thing I started smoking, ‘cause that way I have to make pauses and I don’t lose perception of time.

My creative land is pretty abstract... Full of weird object, happy colors, people talking like whales, no words, and everyone living underwater.

My creative land is pretty abstract... Full of weird object, happy colors, people talking like whales, no words, and everyone living underwater. Even Kafka would be confused. Sometimes I get my ideas, or what someone could call inspiration, in the middle of a dinner or a movie... And then I kinda compose the tune in my head! It’s vital to nail that idea as soon as possible ‘cause it can fade away from the memory as fast as it comes. Couple of days ago I was in a supermarket shopping for food and stuff and suddenly out of nowhere I got this clear idea of what to do with my new Skwee Dubstep remix. So I took my mobile phone, pressed record, and started singing and explaining my ideas. People looked at me like I was a crazy man! That was well funny!

Wow, seems like music took over your mind completely! How would you say music changed your lifestyle on a personal level?

I wouldn’t change my lifestyle for anything!

To me making music is like a window to another dimension. It’s my way to express myself. It’s the biggest cliché in the world, but I didn’t choose music, music chose me. When I’m on tour for about three to four weeks it’s painful not be able to make music. But when I get back to my studio after three weeks it’s like having sex after long celibacy. Takes me to another universe! Yea, I’m a freak!?

Making beats is something I really love.

Nowadays it’s quite “media sexy” to make electronic music, but when I started making beats back in the ‘90s it was everything but sexy! I decided at a really young age that making music is my thing. For years it didn’t look that good, but I didn’t let it take me down. I kept working and working and working. When all my friends were 16-18 they got jobs and started earning money so they could have something to spend on

the weekends. And I spent all my time in the basement studio working on beats and eating pasta. I had no money to go out but I knew that the only way to do things is 100% devotion. Passion.

Do you remember one moment when you realized you’ve made it?

I think when Mala called me and said, “I really like that reggae tune you made. Could I cut it?” To me, that was probably the biggest highlight of my career. Or when Mala asked me to play at DMZ (both times). Then again I still sometimes wonder, “Is this really happening?” It’s still hard to realize!! I just get these weird “unreal” moments when I’m not sure if I’m dreaming or not.

Sounds like Mala is a big influence for you...

He is no doubt the man I look up to. Just all things he’s done without sacrificing his musical style. Just listening to his music, seeing him deejaying... man does it for pure love. So for me it’s no shame to say I do look up to him. I used to go to DMZ just to experience that pure love, pure vibes. There’s lots of people I respect but all the things that he stands for are inspiring. When one day dubstep is gone and most cats jumps on the next thing, I know Mala will still be doing what he loves.

I hope I can be even half of that.

It’s great to have people like that in our lives who inspire us and make us want to be better. I really like the moody feel of your recent work. This last tune you sent me makes me want to cry.

That’s the purpose of this tune. I was kinda sad when I made it. It’s weird... feelings like happiness, sadness or so are the best inspiration for music.

These are the moments when your feelings are on the surface. That’s when you’re most vulnerable and you let that feeling feed your inspiration... Those are also the moments that you, as an artist, put yourself 100% into it.

Nowadays it’s quite “media sexy” to make electronic music, but when I started making beats back in ‘90s it was everything but sexy!... For years it didn’t look that good, but I didn’t let it take me down. I kept working and working and working.

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photo by LeenaHongisto

How’s the album coming along? Any expected time frame?

I decided to push it back. Going to release it in autumn. It just sounds more like autumn and winter music rather than summer. Tunes are pretty much done. I’m working on the last tune for the album.

Exciting! What do you see this album as for your music career? Is it a turning point, a new beginning, or a summary of what you’ve done so far?

I think I managed to merge my past and my future. I hope I can listen to it 20 years later and still think, “Yeah, it was and it is forward-thinking music.”

I’m not going to put too much expectation into it! Let’s see what happens! But I’m really happy with it. It’s definitely a “career milestone” but at the same time I hope it’s just the beginning.

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From what I’ve heard so far, it does sound like a new beginning. Are there any collaborations on the album?

Besides one vocalist, no! 100% my production. I’m not really that good at doing collabs.

‘Cause I don’t want to make any compromises. I just want to do my thing. I’ve done that one 12” with Desto for Argon like two years ago. It was fun, but then again we know each other from way back. We started making beats together like in ‘94. But I haven’t done any collabs with people I don’t know that well. To me making beats is more like a ritual. I just get so deep into the zone – I don’t like to talk or anything when making music. I’m just deep in my own zone.

How’s the rave scene in Finland? I hear lots of drug stories from UK raves, is it anything like that in Finland?

To me making beats is more like a ritual. I just get so deep into the zone – I don’t like to talk or anything when making music.

I’m just deep in my own zone.

I don’t know if we actually got a proper rave scene anymore.

It’s 99% club venues nowadays.

Not that many warehouses and underground raves anymore.

But overall the underground music scene is doing quite well right now. Lots of different things coming from Finland. I dare to say dubstep-wise it’s all based in Helsinki (where I live).

I got my Slam It night here.

When it comes to drugs...

It’s 99% beer and weed, which I think is the perfect combination. Medication for the meditation.

Whom would you like to Big Up? I’d love to big up everyone who is making anything from music

to art to dancing for the right reasons! I want to big up my mates Desto and Clouds for making quality music! I want to big up the full DMZ crew, all the Croydon boys, Hatcha and D, Skream, Walsh, Benga, L.D, Cyrus, Distance for pushing dubstep since day dot. I want to big up RRKK for working No Good Men ting with me and Mindman. I want to big up all crews and promoters in every city pushing this sound, giving us the opportunity to travel and play for the wicked crowds. So many people to big up!!! I want to big N-Type for brocking out my tunes back inna day! And I want to big up Big Up Magazine! I had a blast in San Francisco!!!

WMC BIG SHOTS

photos by Ian Flannery

31

CHOR BOOGIE Chor Boogie makes art with spray paint, but he is not a graffiti artist. He is all about good vibes but he will fight and get stabbed protecting his spray paint. He paints some of the largest murals in the nation and creates the smallest spray painted canvases in the world. And with over 500 murals and even more painted canvases, he puts 200% spirit in every single one of them!

Pages of a magazine can hardly convey the impact of Chor’s pieces you have to witness them in person. But we’re still going to give you a little glimpse of it along with a glimpse into Chor’s world.

interview by Katya Guseva 32

The Vision

You call yourself a spray paint artist as opposed to graffiti artist. What exactly is your relationship with graffiti and how did it develop throughout your artistic career?

Well I’m actually stirring away from calling myself a spray paint artist now... I’m just an artist. Chor Boogie – artist. That’s it. I don’t need a judgmental label to justify what I do.

I have no relationship with graffiti. I paint art with spray paint. The only thing that you can say that relates to my career was when I was in my youth I dibbled and dabbled, even got in trouble for it. But that was ages ago and I was a kid. I’m all grown up now.

It’s time to be a little serious about where I want to take my life, let alone my career.

Which is to support myself and family off what I love to do – art.

...I’m actually stirring away from calling myself a spray paint artist now...

I’m just an artist. Chor Boogie – artist. That’s it.

I don’t need a judgmental label to justify what I do.

How do you react if your work is defaced or destroyed?

I get angry! I’m only human you know. But when that happens or if that happens it tells me a lot about the individuals who did it. They got issues and have no respect.

But I give them no shine and just clean it right up! The wonders of spray paint! What can you do? I’ve been there, done that with the angry, violent approach when I was younger. So now I try to work with it.

I look at my spray paint, my tools of communication, as one of my own children I have to look out for.

What lessons, conclusions, or words of wisdom can you share regarding the stabbing incident over the mural on Market Street in San Francisco?

Well the lesson there is don’t get stabbed while doing a commissioned job. See, I was stabbed over my artwork, my tools of communication. There could have been many routes to take to get out of that, but I was raised not to take any shit from anyone. And maybe that’s my ego and pride getting in the way, but at the same time I look at my spray paint, my tools of communication, as one of my own children I have to look out for. Ok, it’s just a materialistic object, but hey, that object creates beauty! So am I wrong for defending my seed?

Nothing’s worth getting stabbed over in general, it shouldn’t have even gone that far... but it did. So now I take extra precautions when I paint and put a little more rules on when, how, and where I’m going to paint. As far as words of wisdom... don’t get stabbed, even if you are defending yourself.

What do you consider your biggest achievement as an artist?

My biggest achievement to date is selling a $10k piece without a gallery in a so-called recession, working with Albus Cavus (a non-profit on the east coast) on the biggest mural in our nation’s capital. Also a portrait for Hugh Hefner and Jay-Z, painting for the Olympics, a 100-foot-long mural on Market

Street in San Francisco... The list goes on.

Enough of those conceited bragging rights.

You can see the “accomplishments” on www.chorboogie.com, but honestly the biggest accomplishment would be feeling the feelings from people when they are reacting to my work. Now that is priceless.

Do you usually have a finished project in your head when you begin working or does it just appear as you go?

Just appears as I flow... It’s on some spontaneous combustion type ish.

Depending on what I do. I do usually grab a reference when I’m painting realism but ultimately I have to blend it in with my style which I call an artistic form of spray paint voodoo. Pulling something out of nothing from hyperrealistic effects and surrealistically blending, and pulling out illusions with color therapy... basically an emotional landscape of a melodic symphony.

...A project is actually endless as well as timeless.

But you know you are done when it feels right. And you just can’t take it any further...

How do you decide when a project is done?

Do you come back and rework it often?

Well, a project is actually endless as well as timeless. But you know you are done when it feels right. And you just can’t take it any further... So you just continue your vision on the next creation. That’s why I say it’s endless until the day you die. Then you have this montage allegory of your career when you move on to the next life and start 33

Purgatory

34 The Colorful Intentions

something new. The art just keeps continuing on and on and on.

What role does music play in your creative process?

Music plays a major role in my life as well as art simply because it’s art by itself. “Boogie” in my name adds the melodic symphony to my work.

Just the emotion in music is an art form; the way it has an effect on you is just amazing within itself. So yes, it definitely affects my work. It helps me stay focused in a zone of security, keeping me complacent with my work, understanding that music played a major role in that creation.

I started from nothing and turned it into something, learning as I’m going and having a good time enjoying life.

What needs to happen for you to consider yourself an accomplished artist?

You need to understand yourself and realize you are already an accomplished artist without the hype, fame, glory, and money. All those fruits come with it.

I was told it’s fate. If it’s meant for you and the stars, moons, and quasars are aligned for you, then it shall happen as long as you put some belief and trust in yourself. I’m still going to be creative and do what I do. I started from nothing and turned it into something, learning as I’m going and having a good time enjoying life.

If it’s meant for you and the stars, moons, and quasars are aligned for you, then it shall happen as long as you put some belief and trust in yourself.

In the Chor Boogie creative zone of the art voodoo child you have 50% mind + 50% heart = 100% body + 100% soul = 200% spirit then add an infinite universe = a Chor Boogie creation.

Metallic Queens Of The White Tiger

What is it like in Chor Boogie’s creative zone?

36

The Perception Of Color Therapy

37

JAMES BLAKE No one makes music like James Blake. It’s that simple. His sound, startling and beautiful, refreshes and inspires everyone who hears it; and James Blake’s solo vocal album is arguably the most exciting release in the next year!

We chatted with James over AIM, traded mp3s, shared some stories about heartbreaks, and did this little interview along the way...

interview by Noah Bennett 38

First off, tell me a bit more about yourself.

How old are you? Where are you located, born, raised, etc...?

I’m 21 and I’m living in South East London, Deptford. Born in North London, Enfield.

Raised in Enfield too. Moved down south for university, which is where I started writing electronic stuff. Or rather, it was where I first started listening to it.

Did you play regular or acoustic instruments before?

I’ve played piano and sung since I was young.

What style?

Well I learned piano classically, did the grades and all that. But outside of that structure I was improvising all the time to records. I was into loads of things, but early blues really did it for me when I was younger. And I was into a bit of harmonica too. Sonny Boy Williamson.

So which song got you into electronic music?

I’m not sure there was one song in particular, there was just this vibe I was getting once at FWD>>. I went there for someone’s party, just after we finished college, and I was about to go to university. Loads of my friends left because they couldn’t understand why people were standing in the dark listening to this music, but I felt like I’d arrived. People were there for the experience, and that’s nice. It’s only a few steps away from New York’s “The Loft” type of thing. It’s one of the few clubs in London I’d go to on my own.

So are you analog or digital? What do you make your music with? Describe your process.

Digital. I make my music in Logic. I think the process to my music so far has almost always started with harmonization. Harmonization of a melody or a sample. And very often it’s been me seeing how unconventionally I can harmonize a sample without pissing people off. But other times I’ve harmonized it purely to make myself happy, maybe with the sweetest chords I could possibly imagine!

One thing I notice about your music is the idea of space. There is a sparseness to it.

Do you find it has something to do with the quality of dub/70bpm/etc... or is it just natural?

I’d say space can exist in any music, you just have to have the confidence in the sounds that are there to implement it. I think partially it’s a form of rebellion in sparing the silence.

It makes you forget the timing. You stop counting beats and perhaps you appreciate the sounds even more when they come back in slightly more developed.

Sometimes I just stop the record and make people wait...

But at the time of writing the Sparing the Horse 12” I was getting frustrated at the lack of space in a lot of DJ sets I was hearing. It wasn’t enough just to rewind a tune loads of times to break up a set. I wanted to hear pure silence and some crowd anticipation.

Sometimes I just stop the record and make people wait...

Tell me about your experience with the Untold remix. It’s such a massive tune! And it’s so great for a DJ to play out, because it’s beautiful and intense and when it drops, it goes from so much texture and beauty into these simple drums...

Thanks very much! People forget the power of simplicity. I’ve gone through a few phases in the last year or two and I think one of them was really trying to mess with expectations and things getting too predictable on the dancefloor.

Sometimes a tune that’s totally predictable with a big buildup and a big drop and big boring drum templates is exactly what you want. Dancefloor madness. But I think it’s hard to hear eight hours of the same structure. Certainly nobody plays a whole set of my tunes or Untold’s.

Do you?

Like there’s a tune I’m releasing on R&S soon called “Postpone.” That tune went through many stages, purely because I couldn’t work out how to finish it. I’d written this huge long buildup, 48 bars or so with no real beat, just this euphoric buildup.

And I wrote several endings, one of which sounded like the sky was falling down... But in the end I settled for one where it’s just total emotion, not through sound design but with these lovely simple chords.

[Laughs] Well, I’ve written quite a lot that isn’t out yet, and won’t be released, but it’s all quite different. I don’t want to be the WTF guy forever.

There’s some deep stuff I’ve written too, but it’s still just as pure as the rest of my stuff.

Are you going to stay within the genre?

The reason I’m happy not to stay in one place too long is that music only needs to be

comfortable in its own skin to be successful and connect with people. I mean most of the stuff I’m releasing for the next year is around 140 or 130.

I don’t want to be the WTF guy forever.

I feel like “Pembroke” is a little more hip hop tempo.

It’s like really slow hip hop, still 70 though.

What do you think of hip hop by the way?

Hip hop didn’t hit me till I met Kai [of Mount Kimbie]. I was always into the neo soul stuff, D’Angelo, The Roots. And that took me close to the hip hop thing, but I was never a hip hop kid. Kai is the hip hop kid. Just one thing, tune on repeat at the moment is “Don’t Nobody Care About Us” by Phat Kat and “Put A Curse On You” by Quasimoto.

Who is Airhead?

Airhead is a friend of mine from secondary school and college. He’s a brilliant guitarist and cellist. We did this one track called “Downhearted” where I played some tinkly jazz piano at the beginning, followed by a Moby-style sample, and then some pretty vicious breakbeat Amen-style drums. We actually sampled the breakdown of that track and put it at the beginning of “Lock In The Lion.”

Who would you love to work with?

I don’t know, it’s like asking someone who their dream girlfriend is.

I’d love to hear Thom Yorke sing over something you wrote!

Glad you think so but before he’s opened his mouth I’ve already put a vocal down.

Do you sing on your own tracks then?

There’s something about A&R generated collabs that freak me out a bit. When things happen naturally you can hear it.

What about Mount Kimbie?

We’ve done a lot of live stuff together but only one or two actual collaborations. One of them is coming out on R&S in a month or so.

With regards to my own vocals, it depends.

Everything on The Bells Sketch EP is sampled from recordings of me singing various things.

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Cool! I think everyone just assumes that they are samples.

That’s fine by me.

How long does it take you to make a song?

Do you consider yourself a perfectionist?

Not really. I would say I know when something is finished, and when to call it a day on a piece of music I’m writing. I play all of the melodies and chords on a keyboard, and all the pitch bending and stuff is the mod wheel or maybe a bit of synth programming. But there’s stuff going on like random panning and little synth mistakes that I leave in because I like them.

I’d hardly call that refined. I like things to sound expressive, like there’s a little synth blip just before the second drop in “Sparing The Horses.” Throws you off completely if you notice it.

I think that’s the art, learning when to stop.

Do you have a live show?

Well I’m writing a vocal album, where my vocals are completely in the foreground, pretty much unadulterated. So to those ends I’ll be putting together a live show, yes.

And a tour?

Not sure how that’s going to be coming about yet, but I’ll be taking the same line with it as we’ve taken with the Mount Kimbie live shows, which is, play every note.

Whoa! That is rare nowadays!

In my experience, especially if you’re singing, it doesn’t help at all to have to listen for a generated hihat over bad monitors. I’m considering getting rid of the laptop entirely, actually. Virtually no latency with hardware so I’m not singing over something I just sang.

It’s a better sound, anyway, and I’m not drawn like a moth to a flame to this big bright laptop screen, instead of who I should be aiming my music at – the crowd.

I get tired of seeing people with Ableton live. I appreciate showmanship.

Some people use Ableton in great ways, but it also breeds mediocrity. It actually frustrates me more to see people using it to do fairly simple things, when they could do it in a way that allows the audience to connect with it.

I mean I’ve seen beautiful contemporary dance, with lights controlled by Max/MSP. Seeing stuff like that doesn’t make you hate technology in conjunction with music. It makes you wonder why people are so lazy. I think it comes from the fact that there’s a whole generation of producers who aren’t 40

intrinsically performers, who are expected to perform in some way. Secondly, beat repeat is ironically instantly dated by itself. It’s exactly the sort of sound you expect, when computers are introduced to music. So it’s sad when I see “Live” written on a flyer and it’s just a guy pressing beat repeat on his own tunes.

The state of the music industry... To be honest I couldn’t care less.

My favorite Sam Cooke song is about having a good time drinking Coca Cola and dancing in the living room doing the twist. But his voice has so much emotion...

I know, it’s like he wasn’t invited! But the thing is it takes on a whole new meaning listening to it 50 years later. There’s a scene in Ali where Sam Cooke is playing “Bring It on Home to Me,” and there’s nothing sad about it, people are dancing like they’re in church.

Yeah, the gospel element is really in your music. It’s the first thing I think about.

That’s a good point. What do you think of the state of the music industry? Do you feel like pirating has helped your career or hurt it at this point, as you are relatively new and starting out? Do you think there is a big future in digital releases?

The state of the music industry... To be honest I couldn’t care less. I think recently I’ve started to see the value in ownership of music, for example buying a vinyl and having it in your hand, especially after having some of my releases sent to me. As a digital person, having a vinyl collector flatmate has had that effect on me too. But in terms of downloads, there are arguments for and against. Either way, it’s happening, and as a result people want to see people live. It’s not something I’ve thought about too deeply to be honest.

I like that sense of distant longing that inhabits the two Burial albums, but I don’t think it’s something you can just copy. You either are distant and longing for something or you’re not.

I want people who love that kind of music to hear it, but I don’t stress the gospel thing too much. I like the idea that there’s a few things in there. But yeah sometimes that sort of partled gospel organ style comes out.

Ok, so another stupid question, I’m just curious. If you were stuck on a desert island with three albums...

Three albums. Hmm... I don’t know really, it changes all the time. I think for a safe bet, I’d just take three Stevie Wonder albums.

Yes! So soul is a very big part of your life then.

I think that comes out in your music.

It’s weird. I don’t think it’s as big a part as a lot of people are making out. I think human connection is a big part of my music. I’m massively into certain folk artists. Not many people can say they’re not influenced by black music in some way, and I think gospel, blues, and soul really shaped me, but equally I listen to people like Joni Mitchell, Justin Vernon, Laura Marling, Arthur Russel. So yeah, I’d say it’s more of a pursuit of connection with people than trying to inject gospel and soul into my music.

Do you think that your music comes from an emotional or spiritual place? It seems very introspective.

I finally got that Harmonimix stuff. Took me forever to find it.

Definitely. I think at that moment of introducing some chords to a sample I’m really familiar with, there’s an emotional spark that just ends up in odd little nuances. I like that sense of distant longing that inhabits the two Burial albums, but I don’t think that’s something you can just copy. You either are distant and longing for something or you’re not.

Harmonimix wasn’t really a project. You know how people can’t just call something a “remix.” They call it, say, “X Producer’s danger edit.” I thought I’d have a little thing like that.

So they were like, harmonized versions of the originals. Harmonized version of a “Milli” for example. I took his vocal and made him sound like he was singing quite a sad song.

So what are you longing for?

Poor Weezy. Yo man thanks for talking to me!

I’m a huge fan! I just need to know whom you’d like to Big Up before we are done!

Well, I’m listening to Sam Cooke right now.

What’s he longing for, I don’t know, but you can hear it in his voice and it’s heartbreaking.

I suppose it’s pretty explicit because every single song he ever wrote is about a girl. Just like every R. Kelly song is about sex.

I’d like to big up Joe Nice for being lovely about my music and not wearing shoes. And Dom (Mount Kimbie) for spending all of his money on girls.

photo by Dan Wilton

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MIKE MITCHELL Meet Mike Mitchell, the creator of “I’m With Coco” campaign in support of Conan O’Brien, which has miraculously changed his life... Besides the viral Coco campaign this multi-tasking freelance artist from Los Angeles stands behind some brilliant art joining the funny, the frightening, and the adorable in his work.

He’s never been as busy as he is right after the Coco poster blew up, but luckily we got to catch him for a short chat.

interview by Yuan Zhou 42

interview by Josh Couto

How did you come up with that concept for Coco poster?

I had some free time and wanted to do a piece to show my support for Conan.

I originally was going to do a series of propaganda posters featuring various members of the Tonight Show, and started with the Coco piece, which ended up a bit presidential campaign, and a bit propaganda.

Did you expect that “I’m With Coco” poster would have gone this far? It’s blowing up like atomic bomb!

Never! I thought it would maybe catch on with a few people, but not in the way it did!

I guess there were a lot of upset people, and the “I’m with Coco” image gave them something to stand behind.

What do you consider your biggest achievement as an artist?

Well the “I’m with Coco” was easily the biggest thing that has ever happened to me, but on a personal level, being able to quit my salary job and become a freelance artist was really amazing.

Have you been only freelancing? Any other jobs in history?

I was working in the video game industry for the past three years, but I quit that in November to pursue a freelance career, and it’s starting to take off.

What was your first dream job?

When I was a kid I wanted to be an animator for Disney, but then my high school counselor did an awesome job of making that sound like an impossible dream. I also wanted to work in the video game industry, but that turned out to be more of a nightmare than a dream.

I also wanted to work in the video game industry, but that turned out to be more of a nightmare than a dream.

Many characters I see in your art work have big teary eyes, which remind me of big-eyed characters in some Japanese cartoons. And some of them have cute but evil faces. Is it black humor or dark cuteness?

Hmm... black humor or dark cuteness...

Maybe both? I just like the contrast of frightening and adorable, I think it catches a

lot of people off guard, and I dig that. That sort of thing just came natural. I grew up around so much Disney stuff, and having wanted to create adorable things, and at the same time challenge myself by drawing them in a slightly more real style, in the end it just looks creepy and cute.

I just like the contrast of frightening and adorable, I think it catches a lot of people off guard, and I dig that.

A lot of your work I saw on your website are in the medium of digital and mixed media.

Do you use real paintbrush with digital work together? The colors look fantastic!

What is “Death of Neon”? ?Its colors attract me the most.

I paint and draw almost 100% in Photoshop.

The “mixed” part is usually just textures that I scan in and manipulate to give it a more worn, vintage look.

“Death of Neon” was a series for Pete Wentz’ company “Clandestine” and when they told me the theme, I just interpreted it literally! It’s actually one of my favorite pieces that I’ve ever done.

Death of Neon

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King Skully

Little Pilot Skullington

Do you think your original career goal has been changed in the past month since the Coco poster was born?

Well, my original goal as an artist was to be working for myself. I think the whole “Coco” thing has just allowed me to get more, better quality work. It’s given me the greatest thing of all, which is being able to turn down work that I don’t want to do, but normally would have to do just to pay the rent. We’ll see how long that lasts. [Laughs]

most chaotic of my life, and I loved every minute of it. I listen to music all the time, but I find it hard to just relax when I have so much going on.

What music are you listening to these days?

I’ve been listening to a ton of The Avett Brothers but aside from that, Kings of Leon, Them Crooked Vultures and I’m always down for some CCR. Are you planning on any art shows soon?

You are so busy with the Coco campaign.

How do you manage your own time?

Do you get to listen to music and relax?

Well, things are starting to return to normal, but this past month has easily been the 46

I’m in a group show in March at Gallery 1988 LA, and I have a few other group shows I am going to be a part of this year. I’m trying to put together a solo show in New York, but the date for that is TBD!

Would you move to New York?

I was actually there a couple weeks ago for the first time, and I loved it, but I am not sure I would want to live there. I lived in Chicago for a few years, loved it! I think LA feels like home for now, as crazy as that sounds.

Do you have a vision that you want to manifest in your life?

Oh man, that’s a bit deep for me. I just want to have fun, create some art, and maybe if I am lucky, be remembered for it.

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Rocketbird

ALBOROSIE It’s a drizzly February weeknight and San Francisco’s 300-person capacity Rockit Room is completely sold out. The crowd is there to see the first Bay Area appearance by an unlikely new reggae sensation, 33-year-old Sicilian-born Alberto D’Ascola. The club is rammed with ganja-smoking dudes in baseball caps, Rastas decked out in royal robes and other multigenerational fans peering toward the stage. Cheers erupt as the band starts playing and a six-foot-tall white dreadlocked singer steps on stage. “Babylon a tief my herb, dem a tief my…” One line into the chorus of “Herbalist” the spliff-saturated audience explodes with approval.

D’Ascola, who uses the performance moniker Alborosie, easily won California fans’ approval. Back in Jamaica, however, he struggled to find work and acceptance as a European reggae practitioner. But on the strength of self-produced hits like “Kingston Town,” “Rastafari Anthem,” and “Police,” Alborosie’s following grew rapidly and he inked a deal with the Greensleeves label. His early 2010 album, Escape From Babylon to the Kingdom of Zion, is filled with autobiographical songs that reveal his frank and often quirky political views, faith, and philosophical outlook.

Like his ideas, Alborosie’s appearance is unique.

He sports five-foot-long dreadlocks and a neatly trimmed beard, which, were he an orthodox Rasta, would have been left unkempt. Alborosie dresses in stylish clothes accented by tinted shades and a black New York Yankees baseball cap.

His look complements the laid back 1970s- and ‘80s-influenced reggae music he makes, which features Alborosie’s raspy baritone vocals over original compositions and reworked vintage Jamaican rhythms. In an era when Jamaican artists 48

are increasingly crossing over into mainstream pop, Alborosie’s productions recall foundation reggae sounds.

Following his musical intuition has paid off. He now works regularly with greats like Michael Rose and Sly & Robbie and is managed by Clifton “Specialist” Dillon, who introduced Shabba Ranks and Bounty Killer to the international market. It’s a lofty position for an artist who, after moving from Sicily to Northern Italy, left school at age 14 to pursue music heavy metal music. Bold tattoos that peek out from his shirtsleeves hint at his life in the Milan alternative music scene.

Although his first non-metal group Reggae National Tickets became huge, Alborosie wasn’t fulfilled.

He quit the band at their major label peak and moved to Jamaica. He’s now lived in Kingston for 10 years where he has a studio, a label called Forward Records, and his own approach to recording. “I never use MIDI,” says Alborosie, who opts for live instrumentation. He plays bass, guitar, and keyboards and recruits experienced musicians like Soul Syndicate drummer Carlton “Santa” Davis and vocal trio The Tamlins to round out his productions.

Alborosie’s music embraces and pays homage to Jamaica’s foundation artists. We asked him to speak about 10 influential reggae icons...

interview by Tomas Palermo

photo by Kelly Koehler

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photo by Kelly Koehler

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Alborosie On 10 Foundation Reggae Artists Dennis Brown

King Tubby

Sly & Robbie

Dennis Brown is the prince. He’s different from Bob Marley; I’d say [his voice has] more soul.

[Dennis Brown] was a big artist and is still a big artist. Although he’s not here physically, his music lives on. The first songs I heard by him were “Wild Fire” and “Here I Come,” and “The Promised Land” is one of my favorites. His voice is hypnotic. I used a DB sample on my album (for the song “Can’t Stand It”). I realize it’s dangerous to do a classic like that and put your voice or production over it. I didn’t want to offend nobody.

He was a genius like Bob Marley. He created so much different music. He started dub and he built his own sound system, which is the foundation of hip hop in America. Drum and bass came about because of this guy. See, people like me might be able to come up with a nice song or whatever but King Tubby created and invented something.

Jamaica is a small place so I went around to some studios and my manager Specialist introduced me to them. Sly & Robbie know that I love their sound so much that they call me “And.” You have Sly “And” Robbie – that’s what they say! I learned [reggae’s] groove, how to arrange the drum and bass riddim section because of them. Sometimes when I use younger Jamaican musicians it’s difficult for them to know what I want because this generation is different. They’re more nervous and I am laid back.

Burning Spear My dream is to do a song with him. One day that dream might come true and it’ll be a big song, because of the passion that he has. “African Postman,” “Marcus Garvey” – Burning Spear is 100-percent Rasta music.

Right after Bob Marley and Peter Tosh, he’s next on my chart. Burning Spear’s music has a consciousness that you can actually feel. I can really feel it spiritually.

Steel Pulse Steel Pulse are revolutionaries. When you look at the cover of their album Earth Crisis, you can see from the artwork that it’s about politics, which is something we fight for in Europe. On the cover you see Pope John Paul, the police, and people experiencing sufferation. When that album came out in 1984 I was living in Milan, [which is] a very political city. In Italy at that time we joined the revolutionary part of the left wing [political groups] and used alternative music and reggae to spread the message, uplift the youth and liberate the country from the Fascists.

Culture My favorite song from Culture is “International Herb.” I love the similarity with Burning Spear. Again, it’s revolutionary music and it was the sound of Jamaica at that time. That sound has been lost because of globalization and technology. Pro Tools globalized music. So a youth from France or Jamaica can have the same sound because everybody’s using the same programs, keyboards, and plug-ins. What’s left now is the touch, how you express yourself on the instruments. Now [a producer] really has to do a great job to make sure [the] music sounds like their own thing.

Pro Tools globalized music.

So a youth from France or Jamaica can have the same sound because everybody’s using the same programs, keyboards, and plug-ins.

Tenor Saw He has a unique voice. It really fit the rub-a-dub dancehall style. I did a song called “Sound Killer” where I sang a bit of his hit “Ring The Alarm” to have that vibe. I didn’t hear much of his music before I moved to Jamaica. I was more into spiritual reggae – Burning Spear and Steel Pulse – than the dancehall sound. I discovered Tenor Saw later on.

Yellowman Yellowman is my bredrin. We performed in Mexico together and many other times.

When I was in Jamaica recently I called him and said, “yo mek we do a tune together.” He called me and said, “yeah mon, mek we go do a tune.” But this guy is a true superstar. We’re going to do a song and mash up the world! I know that because the vibe is there. In Mexico we were working on it, talking about how to build the riddim and whatever, so it’s going to happen.

Black Uhuru Nobody had a sound like Black Uhuru.

Michael Rose, Puma, and Ducky Simpson are incredible vocalists. Even now, in 2010, their music sounds perfect; their harmonies, the recordings – all the frequencies are so clean. I use Black Uhuru records to see if my production sounds decent. Songs like “General Penitentiary” and “The Whole World Is Africa” are great tracks. Michael Rose and I are friends. He is like a teacher to me. I consider myself a student. That’s why I went to Jamaica, to learn.

Bob Marley He is the boss, the man who made it possible for me to be able to do music. His concepts, songs, melodies, chord progressions and unique composition are unbelievable. He’s the king. The first song I heard was “Buffalo Soldier.” A friend of mine loaned me a cassette with that song and “Jamming” on it, and I said, “this is what I want to be.”

Bob Marley is not a reggae artist but a [representation of ] all mankind. He’s global music with no limitations.

Italians are always involved in some fuckery. Now we have to blaze up the fire.

An Italian must come back and say, “hold on.” I’m going to do my part. This is the settlement. I’ll burn the fire.

Like Bob Marley, I feel blessed to work for the Most High. I suffer a lot for it. But if you don’t suffer, you’re not doing [reggae]. My dream is to move my small revolution forward until it gets into the mainstream. Reggae music for years has been singing about “peace, love, and unity,” but now its time to be real.

If you look back at history, remember that Mussolini went to Ethiopia [in World War II] to fight the Emperor [Haile Selassie]. Why did an Italian go there? Why did Italians crucify Jesus Christ? Italians are always involved in some fuckery. Now we have to blaze up the fire. An Italian must come back and say, “hold on.” I’m going to do my part. This is the settlement. I’ll burn the fire.

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photo by Kelly Koehler

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BIGUP YOUR BASS Ever wonder why your bass never sounds as fat and kicking as the big guys’? There are so many bass sounds out there that usually the problem isn’t finding the sound you like, but rather making your existing bass thicker and fuller, like the pros’. We’re going to explore some ways to make your basslines punch through to the next level.

words by Computo

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There are a lot of techniques out there for fattening your bass. Every producer has their own tweaks and tricks. One of the most common and popular techniques is to mix your bass down in mono rather than stereo. This gives a very present and centered sound that comes right out from the middle of your mix. However, this can change the sound you’ve worked on for a long time, especially if you are using any stereo effects, so it often isn’t the best solution. Also common is using EQ to boost bass levels, or lower the high end. Rather than relying on EQ for low end enhancement, try layering a sub-bass tone under your existing bass. This generally yields a more full effect than simply using an EQ. Another common technique is to use a saturation effect on your bass track. Saturation effects allow you to shape the sound, adding warmth and punch or gritty distortion, if used to an extreme. The incoming sound is softened or sharpened by the effect imposing a certain shape on it. There are a number of expensive saturation effects that emulate famous tubes or tapes. On the expensive end, Native Instruments Guitar Rig has a large number of amps that are geared this way, as does the Waves plugin company, who produce the Renaissance Bass among others. There is also a free tube distortion plugin, the TAL-Tube effect (www.kunz.corrupt.ch).

Reaper’s built-in “ReaComp” sidechain compressor

Finally, an effect I consider a hidden gem... “+Chebyshev”(available from www.soundhack. com in the Freesound Plugins bundle). Unless you are a math wiz or computer scientist, you have probably never heard the name. Pafnuty Chebyshev was one of the founding fathers of Russian mathematics and a master of number theory. One of his theories, referred to as “Chebyshev Form,” is the basis for the free “+Chebyshev” plugin, which uses this very complicated polynomial form to calculate distortion on certain harmonics. Harmonics are the partial pieces that make up the tonality of a sound. Every sound contains many harmonics, and the “+Chebyshev” plugin picks out certain harmonics and adds a fattening distortion.

The very basic “TAL-Tube” tube saturation

If you are going for a more techno-dub sound, there is a common technique that comes from the techno and house production worlds that you can implement to get a unique “ducking” bass effect. The technique makes use of “sidechain compression” to duck the bass anytime the bass drum kicks. For “4 on the floor,” techno-influenced dub, this gives a deep driving effect to the bass. Most major host applications such as Ableton, Logic, and even Reaper have built-in sidechain compression plugins, and the setup is fairly simple. First, insert a compressor effect (that includes sidechaining) on your bass track in your sequencer. Next, select your bass drum track as the source for your sidechain input. Some applications require some semi-complicated routing, so consult your manual.

Using the compressor controls, turn the attack time all the way down, and the release up to about 50-70 ms. This subtle effect can be exaggerated by using the release and compression ratio in extremes. Electro house uses this effect with the ratio turned very high, on synths and basses. You can play with this to get the full effect of how powerful this trick can be. Also, check out the video on the website to see this technique demonstrated in a few permutations.

The incomparable “+Chebyshev” harmonic distortion

Pretty thick, huh? Well, you can google the man, if you’d like to know all the math behind the sound, but using the plugin is very easy. The interface displays distortion knobs for each of the first through seventh partial harmonics. By default, the first is maxed. Depending on what qualities your sound has, you can start playing with the knobs, though the easiest way to beef things up is to zero the first partial and then max out the third or fifth partial. Each will give a slightly different sound, but these two parameters are probably the most reliable for fatness.

You can really punch the crowd in the face with your bass if you know some little tricks. Having some great bass sounds to start with is very important, but it doesn’t end there. Hopefully these tips and plugins will help take those sounds to the next level, and give the bass bins the throttling they deserve!

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If someone sends me a tune with no sub bass I trash it‌ Also if you send me a tune with a really shit wobble (without sub) I usually throw up.

photo by Michael Mann

I hate dancing to the same rhythm over and over again.

I need change and progression.

I like trying to play catch with the beat. It’s a game to me.

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ELLEN ALLIEN We locked down a few precious moments with the mastermind behind BPitch Control, Miss Ellen Allien – concocter and purveyor of ill beats and a veritable tour de force in Berlin’s techno and minimal scene.

Here she tells us a little about her new album Dust (May 2010), Berlin life, and the DIY philosophy.

interview by Noele Lusano 57

Dust is a really inspired, solid album. I hear a pretty broad range of moods and styles throughout this record – elements of indie, pop, maybe even Detroit? Was there anything in particular you were listening to and enjoying while writing this album?

There are some more organic elements happening here, which sound really cool paired with your trademark sound.

I get inspired by daily life... trips, love, socialism, deejaying, images, paintings, movies. Indie?

Yes, always. In Dust, I made a couple of tracks based on vocals and guitars as opposed to a much more electronic sound in the past, with the vocals less pronounced. There were no specific artists that inspired the direction of the album, there was actually no artist I wanted to sound like. In Dust I’ve used more organic elements, like clarinet, guitars, bongos, and vocals which, in combination with the electronic core, gives the album a fresh touch.

I accumulate a lot of ideas over the course of time, and try to find sounds that match to communicate a message.

Massive respect for your ten years at BPitch Control, by the way! You must have seen a huge evolution in the scene.

The label is just great! It’s really exciting to seek out talent, sign them and see them through the developmental process. Our team is really solid at the moment and kicking down doors because of that. Signing new talent makes everything more exciting... It’s really wonderful to hold a CD or LP in your own two hands after you’ve been working on that release constantly for months.

One day I decided to put my speakers up high on the windowsill and turn the volume up so everyone in the neighborhood could hear it.

Any new artists you’re bringing on board that you can tell us about?

In the Watergate mix I’ve woven together all the tracks I was into at the moment, and many of them are still favorites. Some tracks are unreleased – it’s a really exclusive thing. I also like the contrast between the songs, the variety.

We just signed Jahcoozi, a grime act from Berlin, due to release a new album in May. We also signed WE LOVE recently – they’re from Italy. Cormac from Wet Yourself! London is doing a release on Memo, our side label, and Chaim from Tel Aviv is releasing his album at the end of the year as well.

Yeah, there are some big tracks happening here just dying to be played loud. So, I have to ask – what are the crowds over there really loving right now?

Oh... I haven’t been playing for a good while!

I’ve just come out of the studio, finishing up Dust. Tonight will be the first night deejaying in almost a month! [Laughs] It’s hard to say what the crowd likes, it’s so diverse. Over the last few days I’ve been listening to a bunch of promo CDs; I downloaded and bought a lot of new tracks to play out. I like a wild mix of vocals, melodies, and spacey, soulful styles. I have to make sure everyone’s dancing – then it’s a good party. Playing energizing tracks is important...

When I’m on the sidelines after a set, it’s clear to me just how much power the DJ has – they can send you to sleep or set the dancefloor on fire. Coming from Berlin, I’m into long parties and parties that start on a Sunday around 6 pm

people. There are filmmakers making work about this lifestyle, lots of new bands coming up... Creativity rules the city. On the other hand, there are parts of Berlin where bigger companies have taken over and the smaller shops end up having to move elsewhere...

Everything is in constant movement.

You’ve been designing some amazing clothing over the past few years. Got anything new up your sleeve for this year?

My forthcoming Spring/Summer 2010 collection is called Night Flowers. It’s really fun thinking up new cuts and materials – I do that a lot when I’m traveling. It’s great drawing out ideas on paper, then eventually constructing and wearing the final product. Personally, I like wearing my clothes more than any others! But there are some brands I can’t resist.

What’s something you have in common with the people you love?

Peace and a freaky brain.

And what’s inspiring you right now?

What sort of aesthetic or vibe were you going for with the Watergate mix? It sounds to me like the coldest of Berlin winters waiting for the ice to thaw.

I have to make sure everyone’s dancing – then it’s a good party.

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and go until whenever...But I understand not everybody can live that lifestyle. Luckily, I don’t have to be at work at 8 am in the morning every Monday. Mondays are kind of my Sunday.

We weren’t going to let you get away without some crucial bass interrogation.

Dubstep, garage, bass isn’t the most dominant scene in Berlin, but it’s definitely happening on a pretty massive scale. What are your thoughts on all this? Will we ever see an Ellen dubstep refix?

Dubstep kicks ass! There are some amazing producers at the moment. The hot shit is coming out of England, but there are some good grime parties here in Berlin too...

Although minimal works better for long nights and days and is more suited to Berlin style.

Your music is constantly informed by Berlin. It is a totally mesmerizing city in all its facets. What are your feelings on the place now that it’s 2010?

Right now the best thing is just sitting at home writing songs, sitting on the couch and singing. That was actually how I came up with most of my lyrics for Dust – sitting on my couch with a microphone. I recorded the songs at home.

Tell us an Ellen Allien story or dream from your past, present, or future.

When I was a child I used to listen to music in my room. One day I decided to put my speakers up high on the windowsill and turn the volume up so everyone in the neighborhood could hear it. I think that’s when it started for me: I wanted to share my feeling for music with other people. Enjoying the music together. It’s still like this, but my speakers aren’t out the window anymore.

If you had to sum up your life philosophy in one sentence, what would it be?

Do it yourself!

Sehr schoen, Miss Allien. So, summer’s just up ahead, and Berlin is calling. Where can we find you?

Outside... in the streets!

I hope for continued peace and creativity. The club scene is thriving at the moment and there are plenty of creative people still moving to Berlin. As long as active people move here it will stay the same, I guess. The club scene is really fun... You can meet plenty of funny, interesting

photo by Lisa Wassmann

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photo by Michael Mann

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BIGUP YOUR LABEL Wikipedia defines “record label” as a company that manages brands and trademarks, coordinates the production, manufacture, distribution, marketing and promotion, and enforcement of copyright protection of sound recordings and music videos; and maintains contracts with recording artists and their managers.

However, this definition is missing the essential part of a record label’s function talent scouting and development of new artists. It is often a record label that decides who’s going to be put in front of the audience; and more often than not the level of artist’s success in the music industry is measured by the name of the record label their music is released on.

Here we want to big up record labels that are doing what they do not to make a bank, but to develop the talent they believe in and for the love of quality music.

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FRIENDS OF FRIENDS What’s your story anyway? I know you’re doing a lot of press, but how did you even get into this?

I used to go to school at UCSC, worked at KZSC radio station, and became a huge fan of labels like Anticon, Mush, Plug Research...

Daedelus was my number one at the time and I brought him up to Santa Cruz for a show, which basically started my connection to him.

I basically have been going through different promotion and PR jobs in the industry. And I’ve been with Terrorbird about four years now.

So the idea of a label was sort of natural then?

Without a doubt. I was working on a marketing level with soooo many talented people.

I felt that with digital coming along, it was easier than ever to put out stuff I loved, in interesting ways, with people I loved. And in the spirit of being original, FoF was born.

Alfred had a lot to do with it really. I told him the idea and he pushed and pushed until I really did it. He’s a big advocate for the team.

Amazing gent! It’s wild! He’s dropping Ernest and Shlohmo in his live sets. So down for the cause, and I love him for it.

...it needs to be something that we’re proud of, and ideally something that’s a new experience, not just pumping out records like a mill.

What other artists are involved with the label?

FoF 1 was Daedelus & Jogger. FoF 2 was Swiss group Larytta and their pal Bauchamp.

Ernest Gonzales was the first real LP, and Shlohmo. But the remixers’ list has gotten pretty huge. We’ve gotten to work with Nosaj Thing, Free the Robots, Michna, King Cannibal, The Chap, Eliot Lipp, Baths, Asura, matthewdavid, CYNE, Shigeto, and so many more... It’s been a pleasure building the network! Lots came through my day job, but so much has picked up since the label launch. People really seem to gravitate to the idea of FoF. So what’s your vision? Do you plan on releasing names somewhat established in the industry, or always looking to discover the new fresh talent?

That’s something I debate all the time. I think really... it’s about what comes to me. My goal at this stage is to try and put together interesting projects and keeping overhead low. If we can accomplish both, it makes me super excited. If we can find ways to let things out in an interesting way without losing our shirts, that to me is the sign of an amazing release.

First and foremost it needs to be something that we’re proud of, and ideally something that’s a new experience, not just pumping out records like a mill.

Seems like “putting music out in interesting ways” is what makes your label different from any other labels out there. What was the craziest idea for a release?

I don’t know if I should say! In case we wanna use them. I mean they’re all kinda extensions of the t-shirt idea. Really it’s about pairing a dope real product with some fresh tunes. The shirts were 100% organic cotton hand-drawn by an artist invited by the two musicians on the project. And the shirt came with a download card for the album and remixes(exclusive). The card was also made out of seed paper. So you could plant it and a little plant would grow. The Daedelus/Jogger shirt and Larytta/Bauchamp releases are that way! We’re just trying to have fun and be interesting and figure out this new wideopen landscape. Well, “figure out” is a tough phrase, but we try!

What’s the next step for FoF? Shlohmoshun Deluxe is officially out on vinyl 5/25 and there will be a digital EP that comes out around then too with remixes from Baths, Asura, and Shigeto. Then Friends of Friends Volume 3 ft. Mexicans with Guns & Robot Koch with remixes from Free the Robots, King Cannibal, Mux Mool, Salva and more...

What labels would you like to Big Up? Leaving, Brainfeeder, Alpha Pup, NonProjects, Anticon, Exponential, and Ghostly!

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ALPHA PUP

How did the idea of starting the label come around? What was the original purpose of doing it?

The idea of Alpha Pup Records was born out of frustration from dealing with other indie labels. Around that time (2004), Kev was self-releasing music or working with labels he wasn’t happy with. Initially, we began the label as a way to release Kev’s music. Some friends were also making music and working on albums, so the idea of working with our friends and releasing their music was exciting to us.

We wanted to be an artist-friendly business and I think we’re still true to that ideal.

Did the philosophy of the label change over time?

I think the idea of releasing music that we love and want to support is still the same. We wanted to be an artist-friendly business and I think we’re still true to that ideal.

What’s the best thing that has happened to the label since its inception?

Lots of great things happen all the time. Some standouts include signing Westbound Records and the Funkadelic catalog for digital distribution. And Nosaj Thing. We like him.

Pick brilliant artists and have a good marketing plan.

Any advice for the folks thinking of starting their own label?

Pick brilliant artists and have a good marketing plan.

What other labels would you like to Big Up? Wigflip from Baltimore, Leaving Records, Brainfeeder, Non-Projects, Warp, Ghostly International.

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MUSIC REVIEWS Flying Lotus Cosmogramma [Warp] Flying Lotus returns on the mighty Warp Records with his second full-length, Cosmogramma, undoubtedly his strongest and most original work yet.

From the first second of the record, it immediately grabs you by the shoulders and like the force of gravity, you plummet into his world with an intense sixty seconds of electro-acoustic hybrid mash, quickly followed by a two minute jam-out of fractured drum & bass and fretted bass noodlings. The third track shoves you even further, pummeling your ears with an ascending fat bass pulse, chopped-up drums and spacious strings. Try to think of this as your (dis-) orientation, clearly intended to knock you off your conventional shoes and prepare you for what’s to come, as it should have.

words by Alex Incyde

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At track four, you’re plunged into a beatless space, carried forth by celestial violins and cascading harps, cueing the album’s actual beginning. It kicks off into a series of bass-heavy hip-hop machinations, showing us the Flying Lotus that we’ve come to know so well. Its highlights are “Computer Face//Pure Being,” a phantasmagorical derivation of bitted Nintendo music, seamlessly traversing into the 4/4 roller, “And The World Laughs With You,” caressed by the soothing vocals of Thom Yorke, growing progressively glitched-out as it putters along. Other standout tracks are “Mmmhmm” featuring the tranquil lyricism of Thundercat, and “Satellliiiiteee,” a crunked-out opus with pitchshifted Lil Wayne-style vocals.

What’s really impressive about this album is not only how Steven Ellison has further perfected his signature sound electronically with mysterious synthesis and sampling, but has also enhanced it with organic flavors such as fusions of jazz saxophone and guitar, as well as original vocalists.

The result clouds the contour between electronic and traditional acoustic music, begging you simply to simply let your brain absorb it, without a thought of “what” or “how.” This is a true sign of an accomplished musician. It doesn’t seek to elude classification, but effortlessly does so of itself. A great example of this is “Do The Astral Plane,” a somewhat house-like track beginning with straight up scat-talk, a spirited square-wave bassline, and a vivid string arrangement.

Flying Lotus’ tracks are enriched by sounds that can’t even be described; soft layers that don’t grab your attention, but you hear only when you’re blasting it loud and listening closely, almost playing tricks on your mind. The energy flow of this record is rather irregular too, beginning at full throttle, and progressing downwards, as if you’ve taken a toke of some amazing substance and are listening to the soundtrack of it being gradually processed by your receptors until you return to waking reality. The only problem is the album feels too short; each track leaving you wishing it had lasted a little longer. Still, that’s the beauty of being able to experience it all over again, and perhaps encounter something that you hadn’t before.

Deadbeat Radio Rothko [Agriculture] Driving through the desert at night lends two feelings: that of not knowing what’s ahead, and the thrill of an unexplored terrain that no one else has laid tracks on. Deadbeat’s new Radio Rothko is such an experience of momentum into the unknown. Rothko, obviously a reference to transporting oneself into a painting steeped in spirituality and depth, can be similiarly textured with sound – infinite, lost and found at the same time. A new seed planted by Agriculture records, Radio Rothko is a cactus in bloom caught by the wind. The first to sample from minimalist heavies, Basic Channel, Deadbeat ferments their sounds into an absynthian concoction – slow in effect for the long run, mystical and good for you.

words by Betty Nguen

The vast influence of Basic Channel’s sounds and rhythms have passed through the hands of the most recognizable techno producers. I remember first learning about Basic Channel when I was with Aphex Twin record shopping in Elephant & Castle in 2002, and he bought two of their records. Later, sitting in a class at the Royal Academy taught by Jon Wozencraft, co-founder of Touch label, he played their track to Bridget Riley slides. In San Francisco a year later, BC’s show had to be moved from an underground venue to my friend’s garage space due to the 5-0 arriving. All these memorable encounters with BC permeated everyone’s minds with their signature throbbing sounds. This album is a deserving homage to these artists and the result is a blessed work

exploring it’s own curves and deep ends.

Radio Rothko, like any informed album or remix, takes notes from its influential sources, their history and groundwork, and after it has steeped, brews its own clear identity. With tracks titled “Marko Furstenberg - Site 312” and “Monolake - Static,” Chris Monteith from Deadbeat borrows from Basic Channel’s collaborating pioneer family. Rolling into gray areas between dub and techno, lucid tracks like “Substance & Vainqueur” move one into the other creating a seamless experience that is effortlessly enjoyable, and transports you to a peacefully driving mindscape.

Scuba Triangulation [Hotflush] The title of Paul Rose’s latest release as Scuba references a process used for navigation and determining points in relation to others. Accordingly, the songs on Triangulation hint at travel through abstract space with their themes linked by invisible lines. The album presents a dozen individual but related electronic constructions that unfold as evolved android forms. This project differs in tone from 2008’s A Mutual Antipathy, an album with dark cavernous interiors and songs that resemble elegant but crumbling monuments. The atmosphere is clearer on Triangulation but no less expansive or vast.

Rose has tightened up his song transitions, which encourages uninterrupted listening, although the individual tracks are nonetheless striking and distinct. For instance, “Latch” is like an alien cousin of UK garage with startling field-recording samples cushioned by warm synth layers and a deftly funky groove. “Minerals” contrasts heavy dub motifs with a swinging polyrhythmic meter, while steady electro-house number “On Deck” sounds like Sinden or Switch’s potent output. The contrasts continue with fragmented Massive Attack-style pop on “Before” and heart pumping rhythmic numbers like “Tracers” and “You Got Me.” Remarkably, these varied productions are linked – or rather, triangulated – to complement, blend, echo, and enhance each other. Rose has found a flawless equation. words by Tomas Palermo

Ikonika Contact, Love, Want, Have [Hyperdub] Sara Abdel-Hamid, aka Ikonika’s debut album Contact, Love, Want, Have makes full use of the album as its own expressive medium. More exceptionally though, it is the kind of work that reveals, like any strong piece of creative work, the unique cultural coordinates of a people in the history of human civilization. Strewn with nostalgic bit samples of the video games that many of today’s electronic music lovers grew up playing, these are the anthems of a generation born into a technologyinspired future world that is both unstable and mysterious in its potential. Its rhythms are thick with the kind of weight that tempts today’s crowds away from their laptops and into the wombs of clubs around the world, and its melodies unravel and saturate the soundscape with that unmistakable Ikonika groove that locks the producer securely into place as a sister within Hyperdub’s distinguished family tree.

Like its label, this album is as definitive as it is iconoclastic. It challenges and defies more than a few assumptions made about the structural and stylistic standards of so-called “dubstep”; defending

the sense of creative freedom that gave birth to its prototypes in the first place. At the same time, as with the work of label-mates Burial and Goodman’s alter-ego Kode9, it demonstrates a clear and unique artistic vision, as if it were the soundtrack to some unfolding binary dimension where each tune is a sonic snapshot of its variant landscapes.

The first track, fittingly titled “Ikonoklast (Insert Coin),” cordially invites you like a bowing, pixelated geisha. As the album presents itself, it simultaneously demonstrates breadth and character; from the dino/ mega/ninja war-cries and devastating basslines of “R.e.s.o.l” to the tipsy swaggered lean of “Continue?” all the way into the contemplative synth-tides of “Red Marker Pens (Good Ending),” Ikonika makes no secret that she has drawn her inspiration from a different sort of button-pushing with a mission. The gold star goes to “Psoriasis” though, which is so persistent, contagious, and riveting that we’ll be lucky to hear it in the dance for years to come.

Another unsurprisingly awesome contribution from Hyperdub. Success!

words by Josephine Tempongko

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Bonobo Black Sands [Ninja Tune] Simon Green aka Bonobo returns from the road to record his latest full-length downtempo release from Ninja Tune. He’s stated that Black Sands is a musical document encompassing his touring experience over the past two years. Bonobo’s perspective as a bass player is clearly conveyed in his compositions, as his melodic lines are consistently rhythmically oriented, arranged in layered, simple phrases. Vocalist Andreya Triana’s voice can be heard throughout the album as Green’s production techniques re-contextualize the singer in a variety of ways, from a straight lyrical approach to a more glitchy, cut and processed sound. As in his past releases, live instrumental performances such as drum kit, flute, bass guitar and guitar, sampled and recorded, are featured.

words by Ric Baker and Daniel Karz-Wagman

Bonobo makes a cinematic and soulful statement with “Kiara’s Prelude,” the album opener, featuring carefully arranged orchestral parts. The album takes an interesting turn with the glitchhop influenced track “Kiara,” as the orchestral strains from the prelude continue over clacky

beats and warped synth lines. From a production standpoint, this is a highlight of the album.

Another standout from Black Sands is the track “We Could Forever.” It makes excellent use of layered African guitar lines, sustained sax tones, and cut-up flute riffs. The driving hi-hats and layered claps of modern groove music heard on the track typify Simon Green’s percussive feel and palette.

The use of effects on the album, while at times subtle, give many of the tracks an appealing lo-fi fuzzy texture that bring out many of the organic elements in the mix.

Black Sands’ similarities to his earlier works maintain a nice cohesion that won’t disappoint Bonobo’s core fans. His production has shifted in a modern direction while still reaching back to techniques that are tried and true. His consistently thoughtful and linear style heard on the record is complemented by the downtempo feel he has come to be known for.

Four Tet There’s Love In You [Domino] There Is Love In You already has my early consideration for album of the year. This album shows how much Kieran Hebden has grown as an artist over the last two years since the release of Ringer. His newly refined sound might be directly attributed to his DJ residency at London’s world-renowned Plastic People nightclub last year.

words by Aeneas Panayiotou

is a simplistic but oddly moving track that transitions the listener brilliantly into “Love Cry,” which has an almost Krautrock feel to it, and is the pinnacle track of the album, however also it’s darkest.

There Is Love In You, only builds upon the moment he created last year with his instant classic “Moth” / ”Wolf Club” single collaboration with Burial – both of whom are alumni from South London’s Elliott School, along with Hot Chip, The xx, and Pierce Brosnan.

“Circling” continues with the layered synth arpeggios and vocal sample, trend of the album, however the vocals don’t kick in till three-quarter of the way through this harmoniously beautiful song. It is followed by “Pablo’s Heart,” a 12-second track of Hebden’s godson’s pulsating heart. “Sing” is the most dancefloorfriendly track on the album with its housey percussive synthesizer melody.

The album opens with “Angel Echoes,” which begins with an abrupt four-on-the-floor cymbal tap before the angelic yet broken vocal melody kicks in. “Angel Echoes”

There Is Love In You is a must-have if you’re a fan of UK garage or electronic music in general. Don’t sleep on this future classic by Four Tet.

Pangaea Pangaea EP [Hessle Audio] 200 million years ago, all the continents were tightly bound together into one super continent called Pangaea. In theory you could walk from, say, present day London to Australia without even having to cross water.

Experimentation is the seed of progress. UK avant bass has infected the global ear with its sonically diverse array of producers and labels, and Hessle Audio and Kevin McAuley (aka Pangaea) are at an axis to a reunified listening populace – one that embraces experimentation over formula – diversity in sound over safe bets. It’s the risk taking that allows dubstep to freshly evolve while challenging ears worldwide.

Musically, the Pangaea EP is in that sweet spot between the dance floor and chill room. All tracks are strong but “Sunset Yellow” is the stunner – with its robotic sway and deep jazzy pads. “5 -HTP” sounds like what LTJ Bukem might make if he was inclined to make halfstep – and that’s a good thing. You can hear the breath and detail in this album – the quiet contemplation as the music unfolds into deep night moves. This is music for lovers, and if the amount of cute women showing up at parties to hear music like this is any indication, long live subtlety.

words by James Healy

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dBridge, Instra:Mental FabricLive 50 [Fabric] dBridge & Instra:Mental bring a new spice to the rack that holds a futuristic tone, yet keeps a strikingly organic aroma. It’s not chilled out dnb, not sped up halfstep... it’s future bass rhythms through and through. Dark, sexy vibes keep the mix appropriate for many different situations – from a 4 am post party drive, to a good makeout session.

There are a lot of teasers and well thought out blends in the mix, all culminating to the peak: Skream’s “Fire Call” and Instra:Mental’s “Machine Made.” After the peak, there is a tasteful release of energy that feels right, starting with dBridge’s “Love Hotel.” It took me a couple listens to get into some of the few vocals featured in the mix, but I eventually decided that they belonged there and that they should not have been questioned. It’s rare that a mix should dictate any taste, and this one is no exception to the rule... It genuinely

Instra:Mental, James Blake, FaltyDL Mount Kimbie Remixes [Hotflush]

persuades and seduces you to agree with its direction and posture.

One of the best attributes of this compilation is that in no part does it sound like it was made to cater to a particular audience, idea, or fad. There is an enthusiasm that leaks out from behind the track selection and mixing techniques that is indicative of the momentum of the producers featured, as well as dBridge & Instra:Mental and their vision when putting this together. I will say that there are a few moments in the mix that I will have to get used to, but that in no way holds any weight in taking this CD out of my rotation; it’ll be there for a while. words by Donnie Valdez

Hotflush Recordings continues its trend of forward-looking releases with three remixes of songs from its 2009 signee Mount Kimbie. Generally, the better the original song, the better the remixes have to be to compete, and these remixes please on all fronts.

Instra:mental steps up first with an absolute transformation of “At Least” – out of the shuffly, 8-bit sounds of the original is born an uptempo, poppy version with beautiful soundscapes and a driving beat. This remix shows the diversity of Instra:mental, sitting somewhere between their well-known minimal drum and bass sounds and the deeper dubstep feel of “Forbidden” on Apple Pips. Guaranteed to light up the dancefloor with serious crossover potential for Indie Pop or Deep House fans alike.

The highlight of this release for me is the reworking of “Maybes” by James Blake. There’s something about Blake’s vocal edits that gets me every time. Claps, rolling synths, and an off-kilter beat drive the sound of this remix, playing off the soulful singing of alien voices. Excellent progression through the song in and out of lush, rolling synth-driven sections and minimal, percussive bits keeps your interest piqued.

New York’s FaltyDL stays most true to the original with his remix of “Serged,” again showing how well carefully executed vocal edits can rule a track. Emotional sounds on this one, with pitched-down vocals and futuristic synths riding over a 2-steppy beat. The remix continues to evolve for its duration towards the end when it concludes “that was so long ago that I thought we can make a new start, you left me broken-hearted…” Listeners of Burial, VVV, Whistla or Future Garage sounds should definitely enjoy this one. words by Stephen Floor

Autechre Oversteps [Warp] Following a decade of deep abstraction, fearless pioneers Autechre begin to regenerate the posthuman landscape they have explored in recent years. On 2010’s Oversteps, the duo returns to form with an expressive burst that parallels their most legendary works.

From the first track, “r ess,” the album drips with melodic brilliance, as spacious caverns echo over a skittery, minimal rhythm. Evoking guitar feedback, the piece unfolds with a distinctly human element of controlled chaos. Booth and Brown jump head on into an emotional ride with “ilanders,” which is driven by a brooding melody that rattles around every turn. Autechre’s signature complexity is flaunted on “Treale” and “redfall,” where unwieldy synths cascade seamlessly in a natural progression. Some of the record’s finest moments breathe openly with no percussion at all. “known(1)” starts with a powerful theme that builds into a triumphant anthem of screaming machinery, while “see on see” sprinkles fantastic tracers across a desolate plain.

On the second to last track, “krYlon,” Autechre nods to their original meeting as graffiti writers while capturing the essence of the album. Oversteps is a chronicle of spontaneous expression and broken rules, showing the duo’s continued dedication to pushing machines to their creative limits. words by Ryan Gilbert

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RJD2 The Colossus [RJ’s Electrical Connections] a few, as well an impressive catalog of his own singles, remixes, and solo albums. Other projects include commercial spots for Wells Fargo, Saturn and MTV, creating television theme songs, and writing video game scores. Needless to say, he has made some serious strides the last couple of years.

That being said, I tend to find that when you start hearing your favorite musicians on corporate commercials, you can expect the next album to be shite.

Not the case for RJD2. Touching on a myriad of styles, concepts and techniques, RJD2 shows why he is still one to watch in 2010, with the release of The Colossus, his freshman solo effort for his self monikered label, RJ’s Electrical Connections.

If hip hop is like sex, it’s been on its back far too long.

And RJD2 comes equipped with the knowledge of the Kama Sutra.

In a genre seemingly exemplified by simple, redundant, lemming-worthy beats, RJD2 continues to forge his own path with fresh, exciting tunes that refuse to be classified. RJD2 has enjoyed success producing for some of underground hip hop’s favorite artists including El-P, Aceyalone, Pigeon John, & Cage to name

“Let There Be Horns” comes out with guns blazing, boasting a percussion-driven rhythm that would make Tito Puente jealous. Horn sections beautifully contrast the middle eastern feel of violins, while guitar leads and keys keep things fresh throughout this opening number.

Just as quickly, you’re brought back to planet funk with “Games You Can Win,” a groovy joint that harkens to J Dilla. Classic moog-ish basslines, quirkey xylophones, and Kenna’s vocals keep this one on a smooth vibe all the way through.

The energy remains in a constant state of flux as “Giant Squid” takes you into the darker realms of RJ’s mind. Dirty guitars and organs coupled with a nasty drumline and menacing bass counter the eerily beautiful harpsichord and mandolins. Almost certainly making this one a favorite for listeners who identify with the dark side of the force (including yours truly).

Again showcasing his musicianship and versatility, “The Glow” feels more like it belongs on a Beatles album than on a hip hop record, but that’s just part of the genius of the brilliant producer.

The tunes continue to shift between light and dark with the bad intentions of “A Spaceship For Now,” drifting into the motown-themed “The Shining Path” and the obviously Steely Dan-inspired “Crumbs off the Table.”

For fans of the more traditional side of hip hop, RJ offers the lyrically charged “A Son’s Cycle” and the funky summertime feel of “Tin Flower.” But RJ does not seem to be content spending too much time in a certain genre, as shown in “Small Plans,” a dancefloor-driven booty-shaker and “Gypsy Caravan,” an emo-hop bit that would be equally suited for a White Stripes album or a rare grooves set at your local dive bar. As the album comes to a close, RJ finishes things off in his signature style with “The Stranger”and the feel-good energy of “Walk with Me.” All in all, this album is packed full of inspiration and diversity. Hip hop should take a step back, assess its direction, evaluate its intentions, and emerge anew, with RJD2 at the forefront of the movement.

words by Puppy Kicker

Joy Orbison The Shrew Would Have Cushioned The Blow [AUS] The most chilled of Peter O’Grady’s cumulative three Joy Orbison 12”s to date, The Shrew EP serves up a fine pairing of heavyweight two-step slayers on the A, each flaunting his characteristic fusion of tightly-clipped beats, infectious energy, and ruinous basslines. The slow-burning title track melds a stripped-down suggestion of Thomas Melchior with scintillant analog á la Geogaddi, toggling intermittently between elegant restraint and sweet, sweet submission. The oddly infectious strains of Boyz II Men’s “One Sweet Day” get Pete’s summery, soulful treatment on “So Derobe,” while on the flip things go a slight bit wayward – O’Grady’s buttoned-up production devolves into Burroughsian cut-up courtesy Werk’s Actress on “The Shrew Would Have Cushioned The Blow (Neu Haus So Glo Mix).” Absurdist nonsequiturs and fuzzed-out beats won’t be everyone’s cup of tea, but they offer an intriguing counterpoint to side A’s more pop leanings. An engaging package on all counts, and proof that there’s plenty of room for innovation within a genre that ever more wears its influences on its sleeves.

words by Noele Lusano

Souljazz Orchestra Rising Sun [Strut] Residing in a cooler climate hasn’t prevented Ottawa, Canada’s Souljazz Orchestra from mastering music from balmier regions. The eight-year-old instrumental jazz-funk outfit replicates Ethiopian, West African, and American modalities and injects their own vibrant musicianship. Drawing inspiration from Nigerian Afrobeat king Fela Kuti, sublime Ethio-jazzster Mulatu Astatke and spiritual saxophone icon Pharoah Sanders, SJO explores both fiery and cool song structures rooted in 1960s and ‘70s jazz traditions. Their choice of mentors is apt since Sanders readily embraced African influences while Fela admired and collaborated with soulful Americans such as Roy Ayers. Souljazz Orchestra draws these threads together for a very complete and intricately woven album featuring great horn solos and a tight, percussive rhythm section. Unlike some North American Afrobeat copycats, Souljazz Orchestra’s arrangements allow space for superb musicianship rather than centering entirely on raw, repetitive grooves. Even so, “Agbara” and “Mamaya” are powerful, upbeat dance numbers filled with chanting choruses and blazing hot horn blasts.

Quieter pieces like “Lotus Flower” and “Serenity” breathe and exhale calmly with centered playing. In short, Souljazz Orchestra shines as brightly as the sunny music they admire. words by Tomas Palermo

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Starkey Stars feat. Anneka [Planet µ] In the microcosm of electronic producers, Starkey always seems to be at the top of the game, consistently putting out tunes after tunes that push the sonic envelope and expand his musical boundaries. The single “Stars” is no exception, released as a teaser for his upcoming full length album on Planet Mu, Ear Drums and Black Holes.

“Stars” is a dreamy intergalactic voyage through the Planet Sexy. The siren songs of Anneka’s beautifully seductive vocals invite you in to relax and stay awhile. The simple and minimalistic approach pays off big with this tune, expertly crafted for the peak hour of the trip.

Slugabed’s remix is a wonderful counterpart to the original, lulling you into a false sense of comfort before smashing your face in with an assault of pitch-shifted bass and a beat with a shuffle so hard it could only be rivaled by thorazine. As “Starting Gates” begins, you get that same feeling, as if being tricked into a sense of security that may not be justified. And for good reason – this tune is a straight banger, yet quite mature in its approach, with production value that would be hard to achieve by anyone but the most seasoned sound designer.

“Millenia” is definitely my favorite tune on this release. Incredibly epic purple energy fills your every cell with pulsating pads that build up for a good two minutes before dropping some seriously phat chrong on you. I would absolutely love to hear a VIP for this one which continues unaffected by the sensless wobble madness that seems to be the driving force of dubstep as of late. Starkey is a breath of fresh air in a genre at risk of growing stagnant due to its own success. words by Puppy Kicker

Lazer Sword The Golden Handshake [Project Squared] Like the suitcase of a schizophrenic, Lazer Sword’s EP The Golden Handshake is jam-packed with a wild variety of intriguing sounds and stanky sideways beats, pulling your mind deep into the music and then smacking it across the frontal lobe like good glitch hop should.

and allowed to shine as the star of the show, then plods back down on a staircase the size of the sun.

With 21 minutes and six tracks, three each by Lando Kal and Low Limit, The Golden Handshake gives insight into the two minds of the energetic young producers while maintaining that signature Lazer Sword sound of broken whomptastic nastiness.

The two are masters of chopped-up vocals, as illustrated by the stuttered whisper on the bubbling track “Trapperkeeper.” Like a painting with a few words on it or a movie with subtitles, your mind is automatically drawn to these tidbits of language. When it can’t figure them out (was that P Diddy?), your brain is left in a state of agitation, riled up and slightly aggravated – the perfect, unlocked mental state to welcome the anomalous new music.

Densely arranged but quick moving, this EP never forgets the dancefloor. In “Where You Been 7.5,” the delicious breakdown is like a forced breather during sex – I can hear the dance floor screaming for MORE right now. Lazer Sword’s bass pops, spiking up into the sky

Billionaire-rich with the clinking sound of gunmetal, drugged-up vocals and that crunchy San Francisco steaze, The Golden Handshake jumps out of speakers like an impatient animal, hungry and flinging slobber all over the dancefloor, the West Coast, and soon no doubt – the world. words by Shilo Urban

Distal, Mite Chocolate Curcuit / Attempt At Yellow [Embassy] Some songs are so good that, when they first hit you in the core, they almost make you not want to listen to music for a while. This was my experience with the first release on Embassy Recordings with two stellar entries from Atlanta-based producers Mite and Distal. Required listening material for those into Brackles & Shortstuff, Rustie, Hyetal or the like.

The intro of Mite’s “Chocolate Circuit” reminds me of the complex percussion work of L.D. with syncopated woodblocks contrasted by foreboding synths. The drop is one of the largest half-step sounds I’ve heard with a snare drum so thick it’d make a redwood jealous. It’s like the sound effect of someone getting punched in a 1970s kung fu movie, which is about what the sound feels like.

Everything falls apart in the breakdown leaving only the synths and then reassembles, now with more swagger.

“Attempt at Yellow” from Distal starts off with lush synths, and syncopated cymbals, with the only hint of what’s to come from the kick drum. The drop into the first section is earthshattering – if you play this track on the right subwoofers it would set off a tsunami. The cymbals and vocal samples stay for the duration, and the synths come back in during the breakdown. Later on there’s some more sparse bits but it always comes back to that gigantic bassline. Declared a mandatory rewind by Joe Nice, this one will rock any dancefloor, assuming it doesn’t rock the subs first. Look out for Embassy in 2010 – gonna be running things by the end of the year. words by Stephen Floor

Cyrus Beatwise / Scanner [RTP] Cyrus of Random Trio, undoubtedly one of the most powerful hearts beating through the underground, brings on the deep and sexy morbid funk with his most recent releases “Beatwise” and “Scanner.” Known for creating dark environments with wet percussion and bellowing bass, Cyrus masters the technique of rhythmic storytelling – yet often leaves one feeling slightly exposed to the uncertain. To delve into his tracks with an expectation of popular structured bass music would be sonic suicide. With Cyrus, imagine the unimagined – for this sixth release from Random Trio Productions is full of subtle surprises.

Seduced by alluring whispers and collared by the wrapping surge of melodic whines, “Beatwise” flows with the power of suggestion and drips with teasing undertones of attraction. Cyrus forks over a double-dose of robust and raw, fusing together some dangerously addictive flavors while just barely exposing a few secret ingredients. “Scanner” creeps up with timestopping percussive arrangements and delivers some real spaced-out funk. With waves of shuddering kicks, dank snares, and haunting strung-out notes, one could drift into a world of musty splintered caskets and lurking souls just after a few spins.

Perhaps Cyrus is an unsung hero by the choice of his listeners, knowing that dark and beauty only survive as one in the depths of the underground. words by Ivy Something

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James Blake The Bells Sketch [Hessle]

El Rakkas Remixes [Lo Dubs] This release is for the steppers.

Remixes of El Rakkas recent LoDubs release come from XI, who’s been pushing out releases like mad lately with recent work on Formant, Immerse, and Surface Tension, and LV who in my opinion is one of the most underrated producers in dubstep.

Hessle011 by James Blake is pleasantly haunting. You can really hear what he loves about music. Blake leaves fingerprints of low-fi funk, downtempo, jazz, dub and R&B, all over each track.

Some tracks feel like the lost recordings of some robotic underwater band.

“The Bells Sketch” is a sinister yet light progression into a dub lounge composition of a duet of bodiless voices. “Buzzard and Kestral” sounds like an easy listening improvisation with percussion made up of what sounds like sticks on kettles and cups and more of those “I can’t get enough” vocal cut ups. “Give A Man a Rod” displays bit stabs of organs, 80s electro funk synth peeps and low bass with sparse percussion. I can almost imagine these three tracks played live and recorded in an empty run down dance hall filled with the spirits of all the music that came before dusty yet still alive.

While not immediately dance floor friendly this EP is made for listeners that put no boundaries on new sounds. Faster than fan boys can come up with new sub genres, James Blake shows an unexpected versatility that leaves me looking forward to his next release.

“Seas of Disease” gets the LV treatment on the A-side with a dubwise remix that’s sure to keep any fan of Rhythm & Sound happy.

Flowing bass is countered by Berlin-esque synth stabs and an upbeat guitar. Sounds on this one come from an android version of Lee Perry on the controls. Massive.

Keeping with the dub techno soundscape and weaving in and out of halftime segments the XI remix of “I&I” on the flip is equally good. XI raises the temperature of the original, producing one that’s sure to mash up the dance.

Get after this one if you’re into DJG, Scuba, Asusu or similar. words by Stephen Floor

words by Sam Supa

Moldy ft. Dynamo-P HPR004 [Heavy Pressure] Selector Moldy is no stranger to high standards. His first release since 2008, Pegasus, is a welcome addition to his small, but stunning catalogue of music. With an extraterrestrial, almost stellar quality, one can tell that each beat, and each sound were painstakingly crafted with an attention to detail that belies the initial simplicity of the tune.

The imagery is strong in this one, evoking cinematic vistas of hulking alien ghost ships, drifting through space. The occasional whisp of distorted vocal samples flicker in and out of the tune, like some long-since abandoned distress call. There’s no help for us in the void, says Moldy and Dynamo-P. Head down, grit your teeth, and push through.

It’s cold out here, colder than Maine. Cold like deep space... and that’s really cold.

Machine-like drum work stripped down to it’s core elements, and a wall of sub frequencies keep the tune moving nicely, while delayed synth stabs and flutes add a subtle layer of textural suggestion, implying melody while holding back just enough restraint to keep any dancefloor on edge, waiting for more.

Vocals by Heavy Pressure’s own MC Dynamo-P cut through the beat on the A side, like an acetylene torch, and his agressive style is the perfect counterbalance to the ominous atmosphere. This is bass music at it’s finest, in all its restrained, bleak glory. words by Aaron Zimmermann

Noah D My Vitamin Pillbox Nikes / The Love [RWINA] It appears that Noah D has made a departure from his previous style with this new release, in that he is taking some real risks with his new material.

If music was beer, I’d tell you right away that there’s a whole lot of Schlitz being released in the States right now. Now Noah D isn’t Schlitz, but he’s also most definitely not some nice sweet Fat Tire either. I like my beats hoppy and dark, and it seems there may be a bit too much mountain spring water in this release – but it’s a step in the right direction.

words by Aaron Zimmermann

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So first off, we’ve got side A, “My Vitamin Pillbox Nikes.” I’ll say right off the bat that I’m not a big fan of pitch shifted suburban gangsta vocals, but if you like ‘em, this tune has ‘em. That being said though, there’s a lot on side A to appreciate. Though the blatant half-step rhythm plods along, Intermingling with it, are some very fresh rhythmic elements reminiscent of Eskmo, or even Rustie. Quality fresh beats here. Shimmering vibrato synth melodies decorate the sonic landscape in a simple, but effective

manner, and the addition of a funky, distorted bassline is sure to rub any dancefloor the right way.

The flip side, entitled “The Love,” is a bit more chill than side A. Mr. D has still opted for a ‘tried and true’ half-step rhythm as well as a bit of not so subtle LFO on the sub frequencies. A crunchy mechanical lead sears through the bass, but other than that, it’s pretty simple. I’d have to say, that a ‘less is more’ approach has been taken on this tune, and it seems to have slightly missed it’s mark. I would have liked to see more melodic progression on the B-side – this may be dance music, but that doesn’t mean it can’t evolve over the course of it’s unfolding.

Props to Noah D for pushing forward and taking risks with his music. I look forward to where he may take his style in the future. In the meantime, if you’ve got a hungry dancefloor, this release is sure to whet their appetite.

Gonjasufi A Sufi & A Killer [Warp] Every now and again, if you’re lucky, you’ll come across an album that manages to simultaneously hypnotize, confuse, and seduce in a single sitting. A Sufi & A Killer is this album, Gonjasufi’s debut full-length release on Warp, produced by Los Angeles’ psych-beat-engineer Gaslamp Killer along with contributions from heavyhitters Mainframe and Flying Lotus.

A Sufi & A Killer is like a nomadic tour through the modern orient. The album is lead by the stunning and varied vocal delivery of Gonjasufi (Sumach Ecks), seasoned liberally with mystic chanting and strings (sitar, santour, robab) somehow cohesively incorporated into a sprawling soundscape of new-world influences: slouchy post-Dilla beats (“Ancestors”), electro-funk (“Candylane”), trip hop (“Dust,”“Change”) and psychedelic rock (“Kobwebz,”“DedNd”)... just to name a few. The strongest instrument showcasing the artists’ musical aptitude is Ecks’ voice, deliberate and versatile, manipulated to cater to the message of each song, from his bluesy drawl in “Ageing,” a brooding solitary lament (one of many) in “Holidays” (a personal favorite), to his bit-reduced megaphone-amplified maniacal screeching in “SuzieQ.”

words by Sara Ajiri

Cotti vs. Chef Real Hustler / End of The Road [Sum Ting New]

I used to listen to Cotti and Cluekid play sets on Chef’s Rinse show. Those shows were always filled with tons of standout tunes I couldn’t wait to get my hands on. Cotti has always been a great beat maker who has been hard at work creating Sum Ting New. Along with a collaboration with Chef, Cotti also steps to the mic and shows he is as comfortable spitting bars as he is making beats. “End of The Road” with featuring Chef is what I have been missing in what people call dubstep today. Strong kick snares with wandering viper-like bass let the tune roll out littered with choice percussion and some sweet sci-fi synths. “Real Hustler” showcases Cotti’s lyrical skills and his voice works over the riddim as he speaks about how the game is a hustle and you need to come correct and fresh to survive. An LP is on the way with more great collabs and I heard he has also recently been working with Skepta, Coki, and Crazy D. Sum Ting New is definitely something to watch.

The title choice A Sufi & A Killer may very well be an obvious reference to the two main contributors of the album, but it also seems to elude to the singer’s dueling and conflicted nature reflected in the overall feel of the album – a psychedelic collision of past and present, mystic and existential, spiritual and carnal.

This theme rings true for a number of the songs, like the lulling and devious “Sheep,” which at first tricks the listener into believing the singer’s soft, melancholy penitence: “I wish I was a sheep/ instead I’m a lion.”

That is, until the lion emerges in the second half of the song, loud, distorted, proud, unapologetically vehement in his dissent: “I’m a lion babe/ feeding on the sheep that graze/...I wouldn’t have it any other way.” Neither would we.

This album begs repeated listening, as it was hardly created for easy digestion. Rather, it was constructed to leave you a little confused, to lean in for another listen, and another, until the unsettling transitions become familiar and the obscure beauty of the album is realized; that’s the ritual within the album, built from blood, sweat, tears, guns, dust, cobwebs, and smoke.

Dusk & Blackdown vs. Grievous Angel Margins Music: Redux [Keysound]

Margins Music: Redux is a love note to London’s ethnic influences and all things dub. Grievous Angel mutates the original set of tracks and mixes them in a well arranged blend that is a delight to listen to. I tend to listen to most music in my headphones and this was a fantastic urban landscape dipped in Eastern and psychedelic paint. Dubstep, grime and Funky decorate this studio mix and are amplified by Grievous Angel’s use of audio hashish like dub technique. Grievous’s treatment of the tracks “DisEast,” “Northside Cheng,” and “Concrete Streets” stand out as my favorites. Blackdown and Dusk made a great choice in choosing Grievous Angel, making it a comp I will listen to for years to come. words by Sam Supa

words by Sam Supa

DJG The Gate / Obsessed [Lo Dubs] DJG has consistently offered up thoughtful and smart bass music, and his latest release on the LoDubs imprint is no exception. The A-side, “The Gate,” is a deeply musical and meticulously produced track that pairs an intricate drum arrangement with careful melodies and Indian vocals and instrumental samples. Sub-driven and darkly colorful, “The Gate” is for the deep dubstep techno crowd and sound system enthusiasts.

“Obsessed” is the gripping B-side. Its evolved dub sensibilities, haunting melodies, and excellent mix make it a brilliant listen.

This is bass music with personality and emotional integrity. The musical lines develop into a vivid cinematic statement all the while maintaining its cool. DJG also addresses the physical component of the music with extremely satisfying sub slides and drops. Stylistically a blend of dub reggae, dubstep, and techno, “Obsessed” takes the listener to deep sonic and musical territory. words by Ric Baker

Cosmin TRG Now You Know [Tempa] “Now You Know” is Cosmin TRG’s first release on the renowned Tempa label. The double 12” EP has a mutant garage sound to it or “hitek house” as TRG self-proclaimed it on his MySpace page. Either way, TRG is defiantly pushing the envelope in terms of experimental bass music with this new sound.

The EP opens up with “Twilight Riddim,” which has the feel of a horror film mixed with a progressive tech beat lost somewhere in the mid-90’s. “Purple Lights” has a strong Berlin influence, while “Since Last Night” is the most radio-friendly track on the album with its garage/2-step groove and sexy vocal hook. I would highly recommend this genre-defying EP to fans of Roska or Headhunter. words by Aeneas Panayiotou 73

Alborosie Escape From Babylon To The Kingdom of Zion [Greensleeves] On his second full-length album following 2008’s singles collection Soul Pirate, Alberto D’Ascola, aka singer Alborosie, outlines his philosophical and creative perspectives. D’Ascola describes his personal beliefs on songs like “I-Rusalem,” which poetically details his hybrid Christian/Rastafarian beliefs, while on “Humbleness” D’Ascola tells us, “I choose to live my life like a Jah activist, cause I’m a true spiritualist.” Spiritual matters also inform “Kingdom of Zion,” which samples ‘70s singer Barry Brown’s “Enter The Kingdom of Zion,” a tune originally mixed by King Tubby.

Vintage samples are also used effectively on “Money,” featuring a Horace Andy snippet, and “Can’t Stand It” based around Dennis Brown’s song of the same name.

But samples are but a small part of Escape From Babylon’s overall sound. The album features vocalists Gramps Morgan, David “Steel Pulse” Hinds and the Tamlins plus instrumental geniuses Dean Fraser (sax) and Carlton “Santa” Davis (drums). D’Ascola’s also plays a mean bass throughout. The album is bookended by two locations that speak to D’Ascola’s present and future. Opener “Kingston Town” was a huge hit in which, like Damien “Jr. Gong” Marley’s “Welcome To Jamrock,” D’Ascola describes Jamaica’s dangers and violence with vivid lines like “more dead than 9/11 destruction.” Closer “America” is a forthright critique of US political and economic policies, which proves that even as his profile grows abroad, D’Ascola intends to stay true to his convictions.

His escape from Babylon is complete.

words by Tomas Palermo

Jneiro Jarel Android Love Mayhem [Label Who]

Experimental beat originator Jneiro Jarel gets wide open on his latest opus, the Android Love Mayhem EP. From the starting track, “Black Hole,” we are sucked into the mutating producer’s Viberian universe.

Mechanical rhythms push Jarel’s richly constructed layers around the stereo field with a rare freedom of space on “Swift Hovercrafts.” When his vocals float through on “Android Romance 1 & 2,” they uplift the entire journey with perfect timing. Every track here bubbles and glistens with detail, whether on headphones or in the club.

The boundaries are completely broken on “Going Home,” where guest Micah Gaugh croons over shimmering blade runner strings that march to a robotic snare roll. JJ flips it again on “Gosohaurd,” with a filthy slow-motion bounce that crawls along with gritty, textured funk.

Android Love Mayhem exposes the chaos and care put into Jarel’s music. These 21 minutes show a producer who can defy genre, make your head nod, and have you singing along while he continues to cover new ground.

words by Ryan Gilbert

Ramadanman Hemlock 008 & Hessle Audio 012

This spring sees the return of the talented producer Ramadanman. Not only will he have a new 12” on Untold’s Hemlock Recordings label, but a six-track EP out on his own Hessle Audio imprint as well.

Both of these releases represent a new stride taken forth by David Kennedy. Though he has been putting

out singles regularly since 2006, as well as a slew of consistently strong remixes in the last year, the supply of original tunes has been somewhat sparse until now. Since day dot, his productions have always maintained a defining character, regardless of what genre they appear to be closest to, be it two-step, dubstep, jungle, or house. At the same time, this flavor is difficult to put one’s finger on exactly, which is part of what makes it so enticing. These two releases exemplify a musician who has carved a unique niche of his own, managing to side-step classification and always turn heads.

The double pack on Hessle Audio boasts a diverse set of tunes that have undoubtedly been heard on mixtapes and the (sadly) now retired Ruffage Sessions radio show that are finally seeing the light of day. It ranges from the soulful garage energy of “I Beg You,” to the fat drum sequences and mechanical effects of “No Swing,” and the appropriately titled “Bleeper,” skipping along over filter-swept beats.

However, the standout tune of this release is certainly the brain-melting “Tumble.” No tune in existence today sounds close to it, so explanation fails here.

One word may be used: ridiculous (in the best way possible). Also included is “A Couple More Years,” making use of traditional “wub” akin to styles of years

past, combined with a chopped breakbeat and eerie pads, followed by “Don’t Change For Me,” a postrave jungle roller at dubstep tempo.

As if that weren’t enough, the 12” on Hemlock takes the best elements of the Hessle release and squashes it into two must-have tunes. On one side is “Glut,” an irresistible dancefloor track that builds from the very start with a relentless resonance tone, a luscious vocal sample and warm house synths up to the halfway point where it pummels you with throbbing sub-bass, urging you to move. On the flipside, “Tempest” achieves a equivalent effect, assaulting your ears with clean, delicious sounds, leading up to an insanely captivating bleep after the breakdown that will leave you walking home at the end of the night singing to yourself “Beeow beeow beeow beeow” and wondering why.

What is most impressive about Ramadanman’s music is his ability to drive a track forth using a no-frills approach, making effectiveness ooze out of stripped-back elements, allowing a carefully arranged sequence to carry the weight by itself, often leaving its melody out until the tune’s halfway point, where it’s lifted to a new level at just the right time. words by Alex Incyde

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Breakage Foundation [Digital Soundboy]

Digital Soundboy has once again reminded us why it is one of the most influential record labels in history. The Foundation, an astonishing LP delivered

by Breakage, is about to drop on the masses and will prove one undeniable fact: breakbeat and bass music culture will never be the same again.

With even more crossover potential than the label’s last Long Player, Shy FX’s classic, “Diary of a Digital Soundboy,” this album will no doubt have hit singles devastating dancefloors and dominating the air waves all summer long. This isn’t, however, your run-of-the-mill attempt to make underground music more accessible to the mainstream. This is the mighty Breakage once again elevating his sound and welcoming us to the future.

The prolific producer starts this journey with a deep dubby stepper known as “Open Up.” One of the most moving tracks on the album, this tune is equipped with a choice, and very well delayed, reggae vocal snippet and some very lush chords, which, along with a tasty rolling sub-bass line, set the soundscape for some epic rhythms that will make even the biggest haters in the dancehall do the one-foot skank. It’s during the second drop, however, that this tune takes the listener to the next level with some creative use of siren stabs along with the introduction of some incredibly well mixed horn leads that have the ability to pull a variety of emotions out of the listener.

to this collection of phenomenal recordings and contrast really well with the more dancehallinfluenced “Run Em Out,” which features the legendary Roots Manuva. Another instant classic, this track boasts a wicked sleng teng style bass line and a slamming beat with a particularly slumping and driving kick drum that will no doubt have all the ladies winding it up.

Although songs like “Speechless” (featuring Donae’o), one of several R&B-influenced tracks with up-front, pop-style vocal mixing are a far cry from the Breakage we know and love from the Bassbin days, the vibes are not lost in the shuffle and the expected depth is present throughout each track.

This incredibly well produced album is packed to the brim with a plethora of amazingly written hit tracks that will silence even the most skeptical of critics.

With a big studio sound quality which matches that of any major label, creative and professional music videos, and big R&B-style vocal tunes, it seems like DSB is once again making some serious power moves for the charts. If this is the future of pop music, there may just be hope for us yet.

For the long-time Breakage fans who are afraid that the legendary junglist who first made his name crushing out amen- and drum-focused classics has abandoned his roots, fear not. Breakage sends a clear message with the title track and reminds everyone just what The Foundation is all about. This tune, along with “Old School Ting,” will have all the lighter crew running out of butane in no time.

The first single, which is out right now, is a grime track featuring Newham Generals & David Rodigan entitled “Hard.” This is also a breathtaking piece of work and its music video foreshadows the level of production and attention to detail that Breakage and Digital Soundboy have put into this project.

Deeper vibes on the LP, which are provided by tracks like “If” featuring Threshold and “Vial” featuring Burial, add great depth and character

words by Luke Argilla

Cyrus & Tunnidge Ding Ding / Lights [Origin Audio] “Ding Ding” Cracking snare. Subs off the decibel scale. It’s tunes like this that make the track more appealing than the song. The high end of the spectrum is filled nicely by a grinding whistle that screams “finish your drink and stomp around a bit more.” There is a solid up and down bounce to the tune throughout, that doubles up nicely just when you aren’t ready for it. The atmospheric sounds on the buildups are reminiscent of a bad scene coming up on your favorite childhood movie; tension, then motion into a pool of pure stumbling and autonomous shoulder movements. Overall, this is practically a swiss army knife for the trained DJ – it is low key on the aggression, enough for an opening set, but the shuffling hats and huge low end can keep a peak hour set rolling heavily.

“Lights” I was iffy on this tune at first. I had listened to it in my headphones and liked it, but wasn’t quite sure if it did anything special for me. There wasn’t anything wrong with it, I just wasn’t as into it as the one on the flip. What happened next? I heard the tune on a big system. Big system, big difference. This side of the release is a bit more serious, a bit more focused, and a bit more rough.

This track can be played with confidence if you know where you are going with your set, or it can make you confident with where to go with it. There is plenty of space in the production, and also plenty of sonic elements to keep the room full, all while being moody enough to really set it apart from the rest of the record bag. words by Donnie Valdez

These are no amateur productions. A lot of thought and effort has been put into what they will really sound like in the club, and how much air they will move on a real rig. Lesson learned: don’t judge quality dubstep in headphones, you need to feel the air move.

Send all links to music for reviews to musicbox@thebigupmagaizne.com.

Or mail CDs, vinyl, tapes, USB sticks, chocolate candies to: Big Up Magazine, PO Box 194803, San Francisco, CA 94119.

We love the smell of fresh TPs and the feel of unreleased CDs!

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Catherine is wearing: Left Bank earrings Supreme Being top

Paul is wearing: Supreme Being jacket Natures Mistake shirt

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MUSIC LOVERS Life is one sweet song, so start the music...

All photos by Allison Harrell Photo assistant: Francesca Balaguer Hair & Make-up: Krysti Lozinski and Amy Starr Style: Devon Chulick Models: Tristan Bice, Paul Bie, Devon Chulick, Catherine Chuter, Anna Eva, Sara Gerstel Location: Music Lovers, San Francisco

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Catherine is wearing: Natures Mistake top Supreme Being jeans

Anna is wearing: Natures Mistake top

Tristan is wearing: Supreme Being sweater Levi’s jeans

Sarah is wearing: Supreme Being dress DALM earrings

Paul is wearing: Supreme Being jacket Natures Mistake shirt Gost jeans Nike shoes

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Catherine is wearing: Supreme Being sweater

Anna is wearing: Supreme Being top

Tristan is wearing: Punk Drunkers jacket Natures Mistake shirt Levi’s jeans Nike shoes

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Anna is wearing: Supreme Being top

Devon is wearing: Supreme Being jacket Arka shirt Original Penguin pants

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photo by Leo Matus

NATURES MISTAKE Matt Geiger started Natures Mistake a few years ago, and after doing pretty well at shows and overseas, he decided it was time to up his game. Things began to come together like they usually do: Matt met Lefty Joe Torres and soon after Carson Cornett, both LA-based artists, and Natures Mistake began to snowball. With all the artistic talent, they were ready to grow, and then came in and then came in Alicia Contreras, a hustler with the best of them. Matt asked Alicia to “join forces with the NM crew in the battle against all wack brands and fashion douche-baggery.” (good call)...

What inspired NM in the beginning?

Natures Mistake is inspired by change and individuality as shown in the people that make up the crew, all of whom have spent time as the black sheep and are proud to stand out from the rest of herd.

What is the philosophy behind the brand?

The philosophy behind Natures Mistake is “DOWHATCHALIKE”, regardless of trend. Being the black sheep is not so bad.

words by Devon Chulick

Why did you guys decide to get into the t-shirt biz?

We got into the t-shirt biz to make something that other people were ignoring, to make things that you instantly love or hate and even if you hate it you still want to wear it. There is no middle ground with NM, either you love us or you hate us and we are comfortable with that.

I hear you have a patent on some custom hat designs, what is that about?

We hold a patent on interchangeable cap buttons and all our hats come with three different color cap buttons. We make all our own caps in Los Angeles.

What can we expect from Natures Mistake?

You never know what to expect, the truth is we never know what to expect, we just push out concepts and art until three of us like it and the other two feel uncomfortable with it. We also plan to rack up a few more strikes for premeditated brand slaughter on played out labels.

What is premeditated brand slaughter?

Taking a brand that is lacking freshness, or hypes themselves too much and taking a stab at their egos.

How are you going to keep Natures Mistake from becoming one of the brands you want to commit brand slaughter too?

If we have to, we will. But bringing in new people and always trying something new and poking fun at yourself, keeping our egos in check. Most brands develop a stencil for their image, and they don’t change. By working with so many different individuals, we keep ourselves from being complacent.

Any hints on your next hit?

Well this next hit will probably be our masterpiece. It’s a secret right now, but, we’re calling them out on their shit.

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TM

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