# 17
L I F E I S A V I B R AT I O N DEC / JAN 2013 / 14
MELÉ
KELELA ZED BIAS SAM BINGA & REDDERS NYE GUIDE PLASTICIAN | MASON SKY | GORGON CITY
W W W. T R A P M A G A Z I N E . C O . U K
FRIDAY 15TH NOV IN:MOTION PRESENTS
SATURDAY 30TH NOV IN:MOTION PRESENTS
SKREAMIZM: SKREAM JACKMASTER ONEMAN SOPHIE LIVE / HIJACK EDIBLE: EATS EVERYTHING JUSTIN MARTIN / RICHY AHMED LUKAS APEX: ROB JAMES / WAIFS & STRAYS, APEX COLLECTIVE
FEATURING PROJECTION MAPPED IMMERSIVE ENVIRONMENTS CURATED BY:
EDIBLESKREAMIZM
FOR FULL INFO & TICKETS SEE WWW.BRISTOLINMOTION.COM FRIDAY 1ST NOV
BOOMTOWN
BALKAN BEAT BOX YOUNGBLOOD BRASS BAND HOT CAKES LIVE (FEAT DEEKLINE, ED SOLO & JFB) MR BENN DJ SMERINOV 2ND WAREHOUSE: THE PARTYSQUAD / UZIMON ONLYJOE + NANCI & PHOEBE PSYCHOFREUD / KING YOOF TUNNEL: FAR TOO LOUD / TOMB CREW / STAGGA / KANJI KINETIC CAVE: THE CHICKEN BROTHERS C@T IN THE H@T / CIRCO SWING DJS / BIG SWING SOUNDSYSTEM SKANK & STOMP / SCALLIWAGGLES F BLOCK TICKETS: £15 / £20 +BF. TIMES: 21:00 - LATE
SATURDAY 2ND NOV
RUN VS RAM
ANDY C (4 HOUR SET) LOADSTAR / DELTA HEAVY D*MINDS / MIND VORTEX / LOKO HOSTED BY: JAKES BACK ON THE MIC AT RUN / AD / 2SHY / TEXAS HENCH PRESENT: JOKER B2B SWINDLE FEAT BUGGSY PHAELAH / JAKES / KAHN FEAT FLOWDAN / MRK1 / HIZZLE GUY HOSTED BY: KOAST TICKETS: £16.50 / £18.50 +BF TIMES: 22:00 - LATE
FRIDAY 8TH NOV IN:MOTION PRESENTS
TRAP MAGAZINE IDLE HANDS, DONUTS
TRAP MAGAZINE: PEARSON SOUND / BODDIKA FLOATING POINTS / HAPPA TREVINO VS PANGAEA SPECIAL GUEST: ZEBRA KATZ IDLE HANDS: L.I.E.S. SHOWCASE RON MORELLI / SVENGALISGHOST LIVE / MARCOS CABRAL / CHRIS FARRELL DONUTS: ALEXANDER NUT (4 HOUR SET) / TOM D TICKETS: £14.50 / £16.50 / £18.50 +BF. 22:00 - LATE
TICKETS: £16.50 / £18.50 +BF. 22:00 - LATE
SATURDAY 16TH NOV
BUGGEDOUT!
BOYS NOIZE RECORDS: BOYS NOIZE DJ FEADZ RITON DJEDJOTRONIC / CRUMP VII.Y.P.: ANDREW WEATHERALL DANIEL AVERY / BRENDAN LONG VII.Y.P. DJS CUT A RUG: WILL CLARKE / JASON HONEYWELL / SOME BLOKE CALLED JOHN / SHADES OF PURPLE TICKETS: £14.50 / £16.50 / 18.50 +BF. 22:00 - LATE
FRIDAY 22ND NOV
FUTUREBOOGIE
DIXON CRAZY P SOUNDSYSTEM MAXXI SOUNDSYSTEM PBR STREETGANG HORSE MEAT DISCO / VAKULA HACKMAN / SESSION VICTIM OUTBOXX / CHRISTOPHE & LUKAS JAMES WELSH / FUTUREBOOGIE DJS TICKETS: 16.50 / £18.50 +BF. TIMES: 22:00 - LATE
SATURDAY 23RD NOV
ANNIE MAC
ANNIE MAC DUKE DUMONT FEAT MNEK CYRIL HAHN / LULU JAMES ZEE DUTTY GIRL PRESENTS: DAZEE SH DISSMISS / SAFESOUL / KASH HONEY / SARAH B / KLAIR
TICKETS: £17.50 / £19.50 / £22.50 +BF. 22:00 2:00 – LATE
SOLD OUT-100 TICKETS ON THE HE DOOR
FRIDAY 29TH NOV
COCOON
SVEN VATH / ADAM BEYER SHAPES 2ND BIRTHDAY: MATHEW JONSON LIVE GUTI LIVE FUZZBUZZ / SIDE A OLLYWOOD BACKROOM SOULOUD
TICKETS: £17.50 / £19.50 / £22.50 +BF. 22:00 2:00 - LATE
ARC WAREHOUSE
ARC, RFID, LIMBIC CINEMA & LASERPOWER. LFO LIVE / LED SHOW JIMMY EDGAR / ADDISON GROOVE LUKE ABBOTT LIVE / BLACK AMIGA UBERDOG EXIT RECORDS: DBRIDGE CALIBRE / RADIOACTIVE MAN INDIGO HOSTED BY SP:MC A.QUAKE APOLOGUE RECORDINGS: JOE FARR / PATRICK BOLTON / JAMIE CURNOCK / DAMIEN SCHNEIDER & MANSELL TICKETS: £10 / £12.50 / £14.50 +BF. 22:00 - LATE
TUESDAY 31ST DECEMBER
NEW YEARS EVE
BONDAX DJ SET / T.WILLIAMS ZED BIAS / MELE FT. SLICK DON JUS NOW / SLY ONE TICKETS: £25 / £30 / £35 +BF. TIMES: 21:00 – LATE
WEDNESDAY 1ST JANUARY
NEW YEARS DAY SETH TROXLER THE MARTINEZ BROTHERS MARTIN BUTTRICH THUGFUCKER SECRET SUNDAZE JAMES PRIESTLEY GILES SMITH AARTEKT JULIAN SEIFFERT BASI SHAPES DJS
TICKETS: £12.50 / £15 / £17.50 +BF. TIMES: 16:00 - LATE
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IN:MOTION BRISTOL BY
Ben Price
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17
"SOMETIMES YOU DON’T HAVE TO BE ALTERNATIVE, YOU CAN JUST BE BRILLIANT!" — CLASH MAGAZINE "HORIZON SMASHED THEIR FIRST YEAR." "A SERIES OF CRACKING RAVE-UPS!" "HORIZON IS ONLY GOING TO BROADEN!" — WHITELINES MAGAZINE — RESIDENT ADVISOR — DJ MAG
H O R I Z O N F E S T I V A L
BULGARIA ≈ BANSKO SKI RESORT 08≈14 MARCH 2014
KERRI CHANDLER · BONDAX A M E · C AT Z ' N D O G Z · K i N K A N D R E YA T R I A N A
LIVE
L IV E
· R O Y D AV I S J R .
DE T RO IT SWI NDLE · PHA ELEH · DUB PHIZIX FS TERAATT.EMG YC dBR IDG E · S NA K EHI PS LI VE · KASRA · fLAKO · EN EI
A PP L EBOTTO M · V ILLA G E · RAC HEL RO W L IV E · S KEPT I CAL C H A NNEL O N E · A Z &T O R · PLANAS · GEO D E CM AHR AOU DRE R DS NI CK NI KOLO V · B A RE LY LE G AL · AMY BECKER · MO O NY M Y PA NDA SH A LL FLY · O SC AR LU W EEZ · RI C H REAS O N D OL AN BER G I N · N E W JAC K · E M I L PRI ZE · T O M M Y G U N · DIA M O NDZ + M O R E SHOWCASES: MADTECH RECORDS · EXIT RECORDS · PETS RECORDINGS · ELECTRIC MINDS TROUBLE VISION · TIEF · GOTTWOOD · SOLID GROOVES · AUDIO DOUGHNUTS · HIT & RUN PACK LONDON · VAGABONDZ · BROTHERHOOD · THROUGH MY SPEAKERS · PERCOLATE DEEP INSIDE · NINETEEN89 · FINE DINING · AKEMI · SOUS SOL PROJET + MORE...
7 5 K M O F S L O P E S . 5 0 D J S . 3 0 PA R T I E S . 1 5 V E N U E S . 7 D AY S . 6 N I G H T S . 3 B A N Q U E T S . 2 M O U N TA I N S . A L L I N 1 B R I L L I A N T W I N T E R F E S T I VA L ! IN THE HEART OF THE ANCIENT CITY OF BANSKO.
E XCLU SIVE SNOW PACKAGES F E S T I VA L + ACCOM
F E S T I VA L + SKI
F E S T I VA L +
3ê HOTEL & SKI
F E S T I VA L +
4ê HOTEL & SKI
F E S T I VA L + 5ê HOTEL & SKI
199 £199 £279 £339 £409
£
ALL HOT E L B ASE D O N 6 N I GH TS • ALL S K I B A S ED O N 5 D AY S K I PA S S
FESTIVA L TICKE T S £1 2 0 FOR MORE INFORMATION PLEASE VISIT:
W W W . H O R I Z O N F E S T I VA L . N E T
DECEMBER / JANUARY 2013 / 14
T H E
D R O P #17
F E AT U R E S
REGULARS 06 12 16 19 21 22 28 66 69 82
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HYPE FASHION STREET BOUTIQUES DOCTORS ORDERS URBAN NERDS FIFTY FIFTY RISE UP BOSS SELECTIONS REVIEWS BASSPOINTS: NYE
26 31 33 37 40 42 44 50 54 56
REVOLUTIONS IN SOUND T R A P M I X TA P E : P L A S T I C I A N ZED BIAS KELELA SAM BINGA & REDDERS PHOTOS: UKG MELÉ ART: THE LURKERS THE OTHERS FASHION SHOOT
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COVER SHOOT MELÉ by Chris Brock. www.chrisbrock.co.uk. Photographed at Retro Game Base, Streatham, London www.retrogamebase.co.uk EDITOR: Jon Cook jon@trapmagazine.co.uk CREATIVE DIRECTOR/DESIGN: Andy Hayes andy@trapmagazine.co.uk FASHION EDITOR: Kasha Malyckyj kasha@trapmagazine.co.uk REVIEWS EDITOR: Gwyn Thomas De Chroustchoff gwyn@trapmagazine.co.uk SALES & ADVERTISING: Iain Blackburn iain@trapmagazine.co.uk MARKETING & DISTRIBUTION: Justin Iriajen justin@trapmagazine.co.uk WEB: All That Good Stuff & Nick Hills
PICTURES: Chris Brock, Adam Robinson, Kenneth Shaw, Sarah Ginn, Andy Hayes. WORDS: Kasha Malyckyj, Oli Grant, Sam Bates, Gwyn Thomas de Chroustchoff, Sean Kelly, David Clark, Jeryl Wilton, Erin Mathias, Justin Iriajen, Amy Stiff, Patrick Swift, Tim Rayner, James Rompani, Spindoctor. THANK YOU: Clare and all @ Kingdom, Naomi @ Totem, Erin, Lucy and Toni @ Listen Up, Seb @ Worldwide, Johnny & Jack @ Outlook, Beth @ Toast, All @ Urban Nerds, Adam @ Backdrop, Rob & Tom @ The Blast, Oli & Saul @ Fabric, Louis, Rich & Syd @ 50/50, Adam @ Exclusive, Jamie @ Hypercolour, Anna @ Horizon,Oli @ WHP, James @ Detonate, Jack & Paul @ LWE, Tom @ Retro Game Base and everyone else we forgot. C 2013/14 Camouflage Media Limited. All rights reserved. No portion of this magazine or its contents may be reproduced without prior written consent of the publisher. Disclaimer: The views expressed in Trap Magazine are not necessarily the views sharedby its staff or publisher. While we strive to ensure the information in Trap Magazine is correct, changes can occur which effect the accuracy of the copy, for which Trap Magazine holds no responsibility.
H Y P E #17
T H E
H O T T E S T H A P P E N I N G S T O WA R M U P C O L D E S T M O N T H S O F T H E Y E A R
SOMERSET HOUSE CLUB NIGHTS
O
n selected evenings until 5 January 2014, the open-air ice rink at London’s Somerset House will be taken over by a bunch of the most on-point clubs, festivals and labels around, giving you the chance to whizz round the ice to a soundtrack provided by some of the capital’s best selectors. Following parties from Brownswood, Greco Roman and Defected already in November, the remainder of the series sees the likes of PMR, Lovebox and NTS Radio rocking up rink-side. There are three skating sessions per club night, starting at 8pm, and tickets are priced at £17 per session, including skate hire. Sessions sell out quickly, so get your skates on (we know, sorry) and grab yours now from the Somerset House website. ___ SOMERSETHOUSE.ORG.UK
T H E
H Y P E
XOYO RESIDENCY SERIES
I
n January, Shoreditch club XOYO launches its residency series. Through 2014, four huge DJ talents will take over the Old Street venue for 12 consecutive Saturday nights and the first has been announced as the mighty Eats Everything. The idea behind the series is to put emphasis back on the art of the DJ and return to the days when a club’s residents were as essential as the headliners. With 12 whole weeks to play with, we can’t wait to see who Eats invites along to join him for the shows - and who the next three residents will be in 2014. ___ XOYO.CO.UK
UNITED NATIONS OF DUB 2014
T
he second United Nations Of Dub weekender has been announced for 28 March 2014, with another massive line-up of dub, roots and reggae enrolled to perform over three days and nights at Pontins in Prestatyn, North Wales Spread over six indoor arenas, the music runs from noon to 5am every day. With revered dub selectors such as Jah Shaka, Aba Shati-I, Jah Tubby’s and Iration Steppers playing on their own systems in the Soundsystem Arena, a Mungo’s Hi-Fi arena and an indoor-pool party, if you love reggae music, you cannot afford to miss this. ___ @UNOD_WEEKENDER
LORD OF THE MICS V
L
egendary grime clash LOTM returns this festive period for the fifth instalment of battles from Jammer’s basement. It’s now 12 years since the first LOTM and since then the DVD series has featured the likes of Wiley, Kano and Skepta well before the rest of the world knew about them. With hotly hyped battles including Maxsta vs Lil Nasty and Blizzard vs Big Shizz, the LOTM V DVD is out 16 December, with an accompanying audio CD packed with A-list grime. ___ @LORDOFTHEMICS
TRAPMAGAZINE.CO.UK 07
H Y P E
SUBPAC FEEL THE BASS
W
e’re going to be totally honest, when we first heard about the idea of the SubPac, we were pretty dismissive. The idea of strapping something onto your back to feel the vibrations of the music you’re listening to sounded like an unnecessary gimmick; like something you’d see in the Argos catalogue, not the studios or homes of serious audiophiles and producers. And the we tried one. Within five seconds of the ASAP Ferg track used in the demonstration booming into life, its 808 bassline punching away at our backs, all we could think was that we had to have one. And it’s not just us – since we were first literally blown away by the SubPac a couple of months ago, serious backing has been forthcoming from no less than Kode9, Pinch, Shy FX and pretty much anyone that’s tried one. No hype, if you love bass, then SubPac is going to literally shake your world. Now available in a mobile version as well as the seated version we tried out, the SubPac enables you to feel like your stood next to Jah Shaka’s system, absolutely anywhere you are, without any ear damage. And for the producers out there, this is a piece of kit you really should consider adding to your studio, as the SubPac lets you feel those frequencies monitors can’t reproduce. We could talk all day about the technology involved and the sensation of strapping a SubPac to your back and switching it on. But like Frank Zappa once said, “writing about music is like dancing about architecture”, so we’ll save you the sermon. Instead, we recommend you try one out as soon as you can. Look out for open demonstrations of SubPac near you next year, or you can drop by their small showroom above BM Soho in central London to try one out. You will not be disappointed. ___ THESUBPAC.COM
H Y P E
HORIZON FESTIVAL RETURNS FOR SECOND YEAR
A
fter a hugely successful first year, Horizon festival returns to Bansko, Bulgaria on 8-14 March 2014.
This week-long party in the snow gives you the chance to dance away the night to some of the best underground electronic music talent from across Europe, and then spend the following day skiing, snowboarding or just chilling out in luxury spas. Taking place in the relatively undiscovered central European country of Bulgaria means that Horizon is unbeatably priced, with packages for the week starting at just £199. Artists announced so far already put Horizon well above any similar ski-and-party events happening this winter, with the organisers reaching deep to deliver a line-up that takes in everything from the most on-point house music, to reggae, soul, garage and D&B. Andreya Triana will perform live, while DJ sets are promised from the likes of Detroit Swindle, dBridge, Catz’n’Dogz, Roy Davis Jnr and Channel One, plus Kerri Chandler brings along his MadTech family to the slopes of Bansko.
HORIZON FESTIVAL BANSKO, BULGARIA 8 – 14 MARCH 2014 TICKETS: FESTIVAL + ACCOMMODATION PACKAGES START AT £199 FESTIVAL + ACCOMMODATION + 5-DAY SKI PASS START AT £279 LINE-UP INCLUDES: KERRI CHANDLER, BONDAX, ÂME CATZ’N’DOGZ, ANDREYA TRIANA, ROY DAVIS JNR, DETROIT SWINDLE, PHAELEH, DBRIDGE, CHANNEL ONE, ENEI
By day, there’s plenty to keep snow lovers busy – Bansko has over 75km of slopes and, this year, Horizon will be offering you the chance to ‘Ride With A Pro’ and join a team of professional skiers and snowboarders to work on your tricks in the specially constructed snow park! Non-skiers needn’t worry either, with plenty to keep you busy in the day and discounted lessons if your feeling brave enough to give it a go. Get on to the Horizon website now for more info and to book your tickets for what looks set to be this winter’s best festival. ___ HORIZONFESTIVAL.NET
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M O S T T H I S
I S S U E ’ S
W A N T E D F I V E
M U S T - H A V E
I T E M S
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01 T SHIRT SHOP DUTTY £25 WWW.SHOPDUTTY.COM TRAINER CLEANER JASON MARKK £16 WWW.URBANINDUSTRY.CO.UK 03 NIKE JANOSKI £65 WWW.NIKE.COM 04 UNDEFEATED BEANIE £29.95 WWW.WELLGOSH.COM 05 LAPTOP CASE HEAD PORTER £99 WWW.ENDCLOTHING.CO.UK
TRAPMAGAZINE.CO.UK 11
F A S H I O N #17
WORDS:
Kasha Malyckyj & James Wesson
ZDDZ LONDON ZDDZ is a label for those who like to mix it up. Whether pairing her favourite Nikes with a slip dress, or designer vintage with a high-street buy, this is a brand for the girl that’s looking for something a little different. With masculine cuts that flatter the female body combined with luxe-feel fabrics and signature graphic prints, ZDDZ epitomises high end with that streetwear twist. ___
WWW.ZDDZ.CO.UK
F A S H I O N
SON OF WILD Menswear label Son Of Wild sets the bar high with its first collection for AW13. The print-driven range consists of well-cut shirts and tees, bringing together quality fabrics and an autumnal colour palette. Moroccan influences are apparent throughout, from the oversized prints that sit well on signature shirts boasting a longer silhouette and straight-cut fit, to the more subtle dip-dyed t shirts in muted tones. ___
SONOFWILD.COM
GASIUS Famed for its collaborative work with a number of Trap’s favourite brands, London label Gasius has nailed it with its AW13 offering. The small black-and-white capsule collection consists of crew-neck sweaters and long-sleeve tees emblazoned with illustrations inspired by 1970s branding and late-80s cartoons. One piece to definitely cop this season is the ‘Pix Ex/Still Hot’ sweater. Available from Goodhood now. ___
GOODHOODSTORE.COM
F A S H I O N
SHADE LONDON A brand that’s gained a strong following through social media, Shade London has established itself as a firm contender in the streetwear market. The collection of logo tees, fierce crops and hats combines early-90s styling with religious iconography and the new off-theshoulder style is a welcome addition to the range. You can grab yours from the Shade London webstore. ___
SHADELONDONSTORE.COM
ADIDAS TORSION INTEGRAL It’s been a solid year for re-issued trainers and adidas does its bit with the ressurection of the iconic Torsion Integral running shoe. First released back in 1992, this is considered one of the classic sneakers of that decade and makes its return in its OG colourway, plus two very tasty new tones. In stores now. ___
ADIDAS.CO.UK/ORIGINALS
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S T R E E T B O U T I Q U E S #17
F
or the third in our series looking at the finest independent stores out there, we head to Bristol to talk to the guys behind Donuts. First opening its doors back in 2007, Donuts has been doing it right for a minute now. Stocking high-end street-level clothing from a select group of brands, the store’s reputation reaches far and wide and is bolstered by regular club nights with some of the most on-point bookings anywhere in the UK. Read on for an insight into one of the best stores outside the capital...
S T R E E T
B O U T I Q U E S
You linked up with Swamp81 and Ashes57 a couple of years back for those 808 tees. Any more collaborations in the pipeline? “We did, yeah, and it’s been a collab that we’ve enjoyed revisiting over the past few years and that’s always felt pretty natural. We’ll actually be bringing out a new tee before the end of the year with more involvement from Ashes this time around - we’ll be releasing more info very soon!”
And the Donuts club-nights have been going for years – what’s been your most memorable party? We had some pretty crazy ones at The Tube in Bristol back in the day, but more recently, our birthday last year with Dam Funk in an old Victorian court building was pretty special. And earlier this year, we convinced Bristol’s biggest concert hall to let us have a rave in their disused grand foyer. Four hundred people dancing on the chequered marble floor of this amazing 1920s building while Soundstream smashed the disco was amazing.
Any future plans for the Donuts brand? We’ve been thinking lately that a Donuts clothing line is long overdue. It would be good to get right out of our comfort zone as well; maybe try our hand at some pop-up business beyond Bristol. We’ll see...
And finally, what advice would you give to anyone else looking to set up a store?
TRAP: What is Donuts? Donuts is our clothing store and party, our labour of love to bring Bristol the things we think it’s missing. Or some of them at least. We’ve been going since 2007 and plenty has changed in the last six years, both in terms of the clothes we stock and the artists we’ve booked, but it’s always been about doing what we love and hoping that other people do too.
Hahaha... Start saving. ___
DONUTS is at 8 Perry Road, Bristol BS1 5BQ. DONUTSTHESTORE.CO.UK
Why did you decide to open the store? There were brands we wanted to see in Bristol that weren’t available and we thought we could do a better job than the stores we were working in at the time.
You stock some top brands – which are you’re proudest to hold? That’s a tough one; we’re really selective about what we stock, so to put any of them above another is hard. Norse Projects have to get a mention for being consistently excellent, season upon season. Perks and Mini totally do their own thing and do it with a sense of humour, which is really important. ‘Streetwear’ can be so po-faced and lame, it’s great when a brand add a few tongue-in-cheek touches. In terms of the UK, toomuch have been with us from pretty much the beginning and we’ve just taken on Grind London, too. They’re the two brands that best represent the UK right now, we think. Also, we definitely have to give shouts to Colourway and African Apparel from Bristol, too. They’re very different brands, but both brilliant in their own way.
What are your picks for the coming season? The Perks and Mini x Crumpler bumbags are amazing. Norse Projects really come into their own this time of year too, as it turns cold; their deerskin gloves and big knits are a must. And the Asics Christmas Pack Gel Lyte IIIs are dope as hell too. TRAPMAGAZINE.CO.UK 17
T H E D O C T O R ’ S O R D E R S #17 WITH
Spin Doctor
TRAP BRINGS BACK LONDON’S LEADING HIP-HOP INSTITUTION FOR THE LATEST IN THEIR WORLD...
T
hey say that a change is as good as a holiday and, as we gear up to put our feet up, eat turkey and gorge on chocolate, we look back on a year of huge changes. Our move to Scala has been a huge success. We’ve introduced a new resident in the shape of Mo Fingaz and exclusively signed up another, Mr Thing – we’re now the only club night you can hear him at in London! We’ve thrown more parties in more venues than ever before, so we want to thank you all for your continued support!
OLD SCHOOL
Wanna help us to support hip-hop in UK and grab some Christmas pressies while you’re at it? check out our crowd funding campaign on WEARETHEMILLION.COM
NEW SCHOOL Our mates the Foreign Beggars have been banging them out for over 10 years, but they’re now sounding bigger and badder than ever. Always quick to adopt and adapt new sounds, if you’ve not already checked their ‘I Am Legion’ collab with Noisia, then get to it. Also, make sure you don’t miss their DJ, Nonames, spinning exclusively at our NYE party!
November of this year was a landmark month in hip-hop. Not only did the Universal Zulu Nation mark it’s fortieth anniversary with Afrika Bambaataa spinning The Doctor’s Orders at Scala and at events in NYC, but November also marked 20 years since one of the most significant days in our music’s history. Although some of you weren’t even born at the time, trust us when we say ALL hiphop released since 9 November 1993 has been influenced by A Tribe Called Quest’s ‘Midnight Marauders’ and Wu Tang’s ’36 Chambers’. Both were released on that day! Would there be Kanye without Q-Tip? Would there be Action Bronson without Ghostface? Yeah, probably. But they wouldn’t sound the way they do! THEDOCTORSORDERS.COM
TRAPMAGAZINE.CO.UK 19
U.N.O.D ARENA PARTNERS
MARCH 28―30 2014 TH
TH
PONTINS ‘PRESTATYN SANDS’ SELF CATERING PARK North Wales, UK
U.N.O.D.SOUND SYSTEM ARENA ON THEIR OWN SYSTEMS
JAH SHAKA JAH TUBBY’S ABA SHANTI-I IRATION STEPPAS KING EARTHQUAKE BLACKBOARD JUNGLE OBF MAASAIWARRIOR WORDSOUND&POWER U.N.O.D. x MUNGOS HI-FI ARENA FEATURING MUNGO’S HI-FI ALPHA & OMEGA (DAN I, CIAN FINN & JONAH DAN)
ADRIAN SHERWOOD ALPHA STEPPA DUBKASM ft SOLO BANTON VIBRONICS meets BRAIN DAMAGE ft PARVEZ & MADU MESSENGER DON LETTS EARL 16 ZION TRAIN (PERCH & DUBDADDA) MARTIN CAMPBELL REGGAE ROAST MURRAYMAN JAH REVELATION MUZIK (CECIL REUBEN MC TROOPER BROTHER CULTURE) STAND HIGH PATROL ft PUPA JIM TWILIGHT CIRCUS SALOMON HERITAGE I-MITRI NUCLEUS ROOTS RIDDIM TUFFA ft EL FATA KIBIR LA AMLAK ADAM PRESCOTT SELECTORS ARENA POWERED BY BTSS & WONKEY HI-FI FEATURING ASHANTI SELAH ANNA MYSTIC ANTI-BYPASS BOUT’40 SOUND BTSS CHEFF DREAD LION HI-FI DISORDA DUB SMUGGLERS DJ EARTHPIPE EVERMOOR SOUND IBI IMAN INSTRUMENT OF JAH JAH STATION JAH HAMMA JAH RAGGA KING OF EYE KINGS HI-FI LIONPULSE SOUND MR FASO ORGANIC ROOTS PEACE FOUNDATION REBEL LION REVELATION SOUND ROOTS FACTORY FELi S ROOTS INSPIRATION SUB FOUNDATION WILL TEE WONKEY HI-FI AMP OUTERNATIONAL VIOLINBWOY JAM JAH SOUND BREEZAK CHUNGO BUNGO COUNTRYMAN SOUND FULNESS STALAWA SOUND SHALAMANDA HI-FI SKARUMBA HI-FI FREEDOM SOUND TICKETS EXCLUSIVELY AT:
FULL INFO AT:
U R B A N N E R D S #17
A
FTER ARRIVING BACK IN ONE PIECE (WELL, ALMOST) FROM THE FIRST URBAN NERDS ‘THE AMSTERDAM TRIP’ ADVENTURE DURING ADE, ALL SIGHTS ARE NOW SET ON OUR NEW YEAR’S EVE PARTY WITH LONDON WAREHOUSE EVENTS AND GEARING UP FOR OUR SIXTH YEAR AT SNOWBOMBING FESTIVAL!
URBAN NERDS X SNOWBOMBING WARM-UP For our annual Snowbombing warm-up event, on 31 January we’re heading to one of East London’s freshest venues - Village Underground. We’ve called on the man like DJ EZ to take up the task of headlining, backed by Marcus Nasty and the Birmingham jacking house dons - Chris Lorenzo, Pete Graham and Tom Shorterz - alongside Rattus Rattus and Mella Dee. Keep an eye out for the extra act we’re adding soon.
SNOWBOMBING TRAP EXCLUSIVE! And on to Snowbombing proper - we’re excited to announce our Snowbombing line-up exclusively through Trap. Urban Nerds presents Skreamizm will see Artwork, Breach, Rattus Rattus, Route 94 and Skream representing for a massive night of partying. For more info on Snowbombing, or to book your ticket to join us, check the url below. URBANNERDS.SNOWBOMBING.COM
NYE 2013/14
SNOWBOMBING LINEUP
This New Year’s Eve sees us hosting Room Two at the newly refurbished Building 6 in the O2 Arena. We’re inviting Breakage, Dismantle, Monki, Marcus Nasty, Foundation, Rattus Rattus and Cutline to join us seeing in 2014 with style. That’s not all - Room One sees TEED, Breach, Bondax, T Williams, Eton Messy, Javeon LIVE and Kry Wolf with special guests Gorgon City. What a line-up.
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URBAN NERDS PRESENTS SKREAMIZM ARTWORK BREACH RATTUS RATTUS ROUTE 94 SKREAM
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F I F T Y
F I F T Y #17
BRISTOL’S FINEST SKATE EMPORIUM BACK AGAIN WITH THE LATEST FROM THEIR WORLD...
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ith the year now drawing to an end after a pretty kind autumn that allowed the troops to get out and shred the streets, we’re proud to bring you plenty of Bristol-based action this issue. We focus on two homegrown brands that all of us here rep on a daily basis and whose new Winter lines have both dropped recently. These and plenty of other Christmas treats are now available both in store and online, with a sea of holiday deliveries from all the brands we carry rolling through the doors. In other news, fifty fifty team rider Koran Gayle won Best Trick at this year’s UK Championships in Nottingham back in October and also placed fifth in the final - good work once again mate! Also, keep your eyes peeled for a new edit of the fifty fifty team dropping very soon, filmed on our last trip to North Wales, where we found some real gems of spots.
PHOTO: R i c h B o y Café rider Harry Ogilvie pops up frontside 180 on a central Bristol bump to bar.
All that’s left for us to say is have yourselves a joyful one and we’ll be back in the New Year with plenty more! ___ 5050STORE.COM @FIFTYFIFTYSTORE
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SKATEBOARD CAFÉ WINTER DROP Skateboard Café’s new Winter drop was launched in November at the fifty fifty store, with the complimentary coffee and donuts making sure it was another buzzing night in store! The Winter line comprises of a bunch of new graphics and fresh colourways of the brand’s logo tees. The super-clean neon graphic that inspired the launch night is the clear stand-out piece and is available on clothing and boards. The line also features three different limited-edition ‘Skateboard Café X Passion For Baking’ photo boards, which are a collaboration with Manuela Kjeilen, a Norwegian baking book author, whose excellent photography suits the brand down to the ground. Skateboard Café has definitely thought outside the box with this collab – it’s totally different to anything other brands are doing right now and the boards make for perfect wall hangers for those who don’t want to ruin the ingenious graphics! ___
SKATEBOARDCAFE.COM
FIFTY FIFTY BRAND We’ve produced our own in-store brand since the very beginning. The latest line features some clean logo pieces available on a variety of garments and boards, plus several new photo-based graphic tees desgned by our own Danny Wainwright, one of which pays homage to the great Miles Davis . There’s also a special collaborative project dropping very soon - all we can say right now is that it’s one we’re totally stoked to be producing, as its with a brand that’s always been one of our favourites. Sorry, no spoilers, but you know where to check for info! ___
5050STORE.COM
PHOTO: L e o S h a r Fifty fifty owner Justin Sydenham Wall ride. Fishponds, Bristol.
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n Thursday 14 November, Red Bull Music Academy took over the London Eye for Revolutions In Sound.
Each of the 30 capsules of the giant Ferris wheel were given over to a different legendary club-night from across the UK and history of dance music, with the lucky few inside each pod and the millions watching online able to witness the best DJs from every corner of British dance music doing their thing high above the London skyline. Trap was blessed to have been inside the Motion capsule, losing our shit to Redlight, DJ Die, Jus Now and more, as our mates texted us to say they were watching from home. It was an unforgettable, if surreal, night for every one involved and a true celebration of why the UK club scene is the best in the world. REDBULLMUSICACADEMY.COM
RISE UP #17
MAISON SKY
WE ARE... Maison Sky – or Jamie and Max.
WHEN WE NEED INSPIRATION, WE... Keep listening to music. Sometimes, we get stuck on a loop for hours, so its good to escape for a while and listen to something completely different.
YOU MIGHT ALREADY KNOW US FOR... The track ‘Glamour’.
WE CAN’T START OUR DAY WITHOUT... Tea. Tea, tea, tea and tea.
WE’D DESCRIBE THE MUSIC WE MAKE AS... House/techno.
IF WE WERE ANIMALS, WE’D BE... Cats.
WHEN WE’RE NOT WORKING, YOU’LL FIND US… At the pub with mates usually. Either that or sleeping.
YOU MAY BE SURPRISED TO KNOW THAT... Max is half Jamaican, no one ever believes it.
OUR EARLIEST MEMORY OF MUSIC IS... M: Playing records in my dad’s loft when I was about 13. J: I remember my mum playing this one Gypsy Kings album at every BBQ we had. Probably that. IF WE WERE INVISIBLE FOR THE DAY, WE’D... You don’t want to know..
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THREE WORDS THAT DESCRIBE OUR MIX ARE… Moeshy. Techno. Belters. OUR LIFE WON’T BE COMPLETE UNTIL WE... Go bowling with Kanye. ___ @MAISONSKY
TRAPMAGAZINE.CO.UK
RISE UP #18
GORGON CITY
WE ARE... Gorgon City, a DJ/production duo from North London. YOU MIGHT ALREADY KNOW US FOR... The track ‘Real’ featuring Yasmin. WE’D DESCRIBE THE MUSIC WE MAKE AS... Feel-good house music with a bump. WHEN WE’RE NOT WORKING, YOU’LL FIND US… Raving in Ibiza. OUR EARLIEST MEMORY OF MUSIC IS... One Nation tape-packs and Mampi Swift double drops! IF WE WERE INVISIBLE FOR THE DAY, WE’D... Go to the zoo and chill with a panda.
WHEN WE NEED INSPIRATION, WE... Get chips. WE CAN’T START OUR DAY WITHOUT... Grey Goose. IF WE WERE ANIMALS, WE’D BE... Croatian tortoise - so we can get taken out for dinner by Artwork. YOU MAY BE SURPRISED TO KNOW THAT... You can die if you consume an entire bottle of soy sauce at once. THREE WORDS THAT DESCRIBE OUR MIX ARE… Banging house music. OUR LIFE WON’T BE COMPLETE UNTIL WE... We get the Nando’s Black Cards that our whole careers have been leading towards. ___ @GORGONCITY
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T R A P M I X T A P E #08
PLASTICIAN
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or the eighth edition of the Trap Mixtape series, we present an exclusive 60-minute mix from one of UK bass-music’s most important individuals. Plastician is respected as a key figure in both grime and dubstep, with his DJ sets, productions and Terrorhythm record label helping define and direct both scenes from their earliest moments through to the current day. One of the Croydon originals responsible for the development and subsequent explosion of dubstep, Plastician’s wide-reaching mixes provided an entry point for many to the new sound and helped establish him as one of the biggest and most in-demand DJs on the entire rave scene. Still enjoying a hard-earned rep as one of the best, the man who was the first DJ to play music by the likes of Joker and Emalkay continues to push new bass-heavy sounds through his weekly Rinse FM show and relentless DJ schedule. So, while at the time of writing, we’re yet to hear Plastician’s mix for us, we can guarantee it’s going to be something special. Get on the Trap website later on in December to stream and download Plastician’s mix.
BASS BECOMES YOU. “An ingenious seatback that let’s you feel the bass like it’s 4am at Fabric.” - Mixmag
The SubPac is tactile bass technology that transfers low frequencies quietly and directly to your body. • DJs and Producers: the solution for monitoring low frequencies (5Hz - 130Hz) while saving your hearing. • Bass Lovers: experience physical club-level bass without disturbing others. Any time, any place.
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/SUBPACOFFICIAL
@SUB_PAC
Z E D WORDS:
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P a t r i c k S w i f t PHOTOS: A s h e s 5 7
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ed Bias has done it all. One of the original exponents of the dark garage sound that laid the foundations for dubstep, a UKG don under the Maddslinky moniker and a Hospital Records-signed D&B producer, Zed’s career spans the evolution of UK club music over the last two decades. Now enjoying life as one of the driving talents behind the unstoppable Swamp81 movement, November saw the release of his aptly titled ‘Boss’ album for Loefah’s zeitgeist-seizing imprint. Trap grabbed a few moments with the man himself to see what makes him tick...
How do you stay passionate about music? I love music. I have to limit how much current music I listen to, as I would be overwhelmed with ideas! I listen to 1Xtra in the motor to keep abreast of what’s going on, but, mainly, I try to get my inspiration in the club when I’m DJing.
TRAP: Hi Zed, how are you doing? I’m well thanks! You’re seen by many as one of the key figures in the birth of dubstep. Back in 2002, when you were a resident at FWD>>, could you have foreseen what was to come? This is a much-debated thing. I know that the people responsible for ‘inventing’ dubstep used to come to FWD>> as young producers and were inspired to go do their own thing. At the time, I just wanted to play garage dubs and push the envelope with basslines being the main part of the track.
You’re also working on your new record label, Biasonic, how’s that going? It’s going really well. We have a various-artists EP being released before Christmas that includes music from myself, Almost, Tom Shorterz, Foreign Concept, Roy Davis Jr, Given, Fox, Murlo, Samrai and Beat Corporation. You’ve got Roy Davis Jr and Chunky as features on ‘Boss’. What was it that made you want them on the album? Chunky is my mate from Manchester and we have shared ideas for a few years, so including him on the album was a no-brainer. The track from Roy and I came about when we recorded for a week earlier this year. He’s a great guy to work with. He’s now Uncle Roy to me.
You come from the old school in terms of production. What do you prefer about modern technology – and what do you wish was still the same? I prefer producing in 2013 to 1994; everything was a struggle back then. I do prefer the sound quality we had back in the 1990s, though. It was gritty and warm. Your forthcoming album, ‘Boss’ is coming out via Swamp81. What does releasing for that label and Loefah mean to you? It means a lot to be in the Swamp camp. Me and Loe are kindred spirits. We come from a similar place musically. I will keep recording albums for Swamp for as long as I’m allowed to.
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‘Boss’ is also significant because it’s only the second ever album to be released on Swamp81... That’s right. Initially, the album was going to be an EP, but it grew organically into what it is. I’ve never released a four-pack of vinyl before, not even in the heyday of vinyl sales. I love that we are doing this in 2013, years after the supposed death of vinyl.
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Are there any new acts coming through that you’ve got your eyes on? Almost, Fatty Who, Trigga and Grace Love. You’ve got an impressive remix history, is there anyone you’d really like to remix that you haven’t yet? Not really. I remixed Whitney Houston back in the day with Steve Gurley and that was probably as big as you can get, especially at the time. I love remixing pretty much anything to be honest. It’s still my favourite part of my job.
What do you make of the resurgence in the UK garage sound? I love that there’s a fresh generation of garage ravers. I never thought at the time that our music would still be played in clubs over a decade later!
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The album artwork is something special too, shot by Will Bankhead. Will Bankhead is a don in his own right. I am honoured to have him making my covers for Swamp81. ‘Boss’ draws on a broad range of your musical influences. Who would you say were some of your key influences? Steve Gurley, DJ Krust, LTJ Bukem, Airto Moreira, Roy Ayers and Herbie Hancock. You’re also behind the latest track from Scrufizzer, ‘Kick It’, how did that come about? Cameo, who is Scru’s manager gave me a call and said that Scru had written over one of my beats. He sent me the acapella and I made ‘Kick It’. Scrufizzer is going to be massive.
‘Neighbourhood’ is, arguably, still your best known track did you ever think it would reach Number 25 back in 2000? No, I thought it would go Top Ten, to be honest! XL were convinced too and pressed up 80,000 CD singles. There are currently 55,000 in the store cupboard in their offices... What can we expect to see from Zed Bias in the near future? Well, I have a few remixes hitting the street before Christmas (for Illum Sphere, Champion, Skindred, Little Nikki) and a collaboration with Terror Danjah under the name BND. I’m playing some huge gigs soon in the UK and have a small tour of Australia in December. It’s never been busier. ___ Zed Bias’ album ‘Boss’ is out now on Swamp81. @zed_bias
The Doctor’s Orders Present #TDONYE
9pm - 5am • New Years Eve 18 - 22 Houndsditch, London. EC3A 7LP
HUGE LINE UP • INTIMATE VENUE FUNCTION ONE SOUND • CHEAP TICKETS
THE NEXTMEN DJ NONAMES MR THING SPIN DOCTOR CHRIS P CUTS MO FINGAZ MC PRANKSTA 4 DECK SET
FOREIGN BEGGARS
7PM-12AM-SUN 2ND FEB-SCALA, LONDON. N1 9NL
SPECIAL GUESTS MA DUKES YANCEY & ILLA J DJ’S SHORTEE BLITZ, MR THING SPIN DOCTOR KIDKANEVIL, KUTMAH, DJ LOK & SPECIAL GUESTS MINIMUM DONATION £6 IN ADVANCE £30 VIP TICKETS - EXCLUSIVE ACCESS TO VIP BAR AND BALCONY & INCLUDE AN EXCLUSIVE J-DILLA T-SHIRT
ALL PROCEEDS FROM THE NIGHT ARE DONATED TO THE J-DILLA FOUNDATION & LUPUS UK
SUPER EARLY BIRD TICKETS £15 • EARLY BIRD TICKETS: £17.50 ADVANCE TICKETS: £20 • VIP TICKETS £30 (4 GROUPS OF 10 ONLY)
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@TheDocsOrders
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n 1 October 2013, Kelela strode into the club music scene, escorted by the Night Slugs and Fade to Mind crew, with her debut mixtape,‘Cut 4 Me’. Here, she talks collaboration, organic versus electronic, sexism, self-representation – and future plans. WORDS:
Erin Mathias
How does it feel to be a core element of a group of producers who will be looked back on as ever-important to dance music? I’ve started and erased my answer to this question 100 times. This is more of a statement. Thank you. It feels great. Tell us about the process of composition on ‘Cut 4 Me’. I met Total Freedom first, during the process of writing the song I did with Teengirl Fantasy called ‘EFX’. That was the song he shared with Kingdom, Nguzu and Prince William. ‘Cut 4 Me’ was highly collaborative. The process we went through differed for every track. ‘Bank Head’ and ‘Keep It Cool’ were pretty much composed alone in my room, while the melody for ‘Enemy’ happened during my first session with Nguzu. Asma and I completed the lyrics to that song together. It was really natural and organic. We would just be hanging out and then it’d be like, “Wait... What’s the lyric to this part of this song?” and we’d make a game of it with four or five of us in the room at the same time. I used to be more methodical when writing melodies, but then started trying to exercise my intuition in a different way by just making up a song on the spot. It allowed me to get out things I would never compose in a deliberate fashion. More pre-school, more resonant, more focused melodies. I only hear a track for the first time once, so I figured I’d go for that method and then try the other one if it doesn’t yield something I like In the past, you’ve done more organic stuff, like the ‘Behaving Badly’ track with Tosin Abasi. How does this compare to singing over sparser beats? Not that different, actually. I began improvising songs in gibberish with Tosin on guitar. A lot of his guitar work is loop-based, so it could easily (well, maybe not that easily as his songs are always in odd metre) flip the song and make it a grime track. The real difference for me was going from performing with people who play instruments to performing over a track that was composed at home on a computer. That was probably one of the most terrifying transitions, because other people on stage playing instruments can compensate for your fuck-ups. With a fixed track, everything is quite audible and very little around me is improvised, which makes me feel like my vocals have to hit hard. Performing with Total Freedom has allowed me to feel someone else’s presence over a fixed track, which has enhanced my experience on stage. What does Cut 4 Me mean? The idea for the title of ‘Cut 4 Me’ came from Prince William. The majority of the mixtape is about a drawn-out breakup that (indirectly) propelled me to where I am and what I’m doing now. The saying is pretty street, like “ride for me” or “die for me”. I would have cut 4 that person, and ironically, I had to cut – sever – for myself in order to actualise my dream. I remember Mike Q telling me he thought the title was related to the instrumentals, like a “song for me” to sing on. I think that literal interpretation sealed the deal for me. Do you prefer singing in the studio or on stage? I like both. There are ways I get to feel in a booth that I’m not looking to experience on stage and vice-versa. I’m not singing while looking into someone’s eyes while in a booth. My eyes are closed for the most part and I can be more nuanced in my
vocal performance. Also, the good measure of a show is nailing it better than the way you’ve heard it on the record, which means you’re doing it for the people who know it, but then you have to do more that takes it to new levels. In the booth, I try to be precise, but it’s also about making shit up and it not sounding so refined. What’s your live set up? I play with a DJ on CDJs and have my vocals going from front of house to the mixer, so that delay is being controlled by the DJ who knows the songs. I get to have more of a live experience that way, because the DJ is doing slightly different things every time. I just did my first hard-ticket show in London a few days ago and it was pretty magical. Not because I sounded the best, but because I was seeing my audience for the first time – a bunch of random people who are into the mixtape – rather than one group of people who know each other. Do you feel settled in this sound, now? Can you tell us about your upcoming album? Yes, it feels like home. The album will include work from producers inside and outside the Fade To Mind / Night Slugs camp. My vision for the album isn’t going to depart in terms of sound too much; I’m going to focus more on the song writing for this one so that it’s on par with the production. That means working with songwriters to achieve a simultaneously resonant and challenging body of work. How do you, and how will you, avoid over-sexualisation as a female singer? Does this concern you? I don’t have a game plan. I just try to be honest in how I represent myself. Not saying there isn’t an interpretation out there that is fucked up, but all I have control over is me so I don’t get too bothered. Also, I’ve heard of producers having a “nothing gets done before we bone” type rule. The people I work with are generally respectful and get those dynamics, so I don’t deal too intimately with “that guy.” ‘Cut 4 Me’ has actually been described as an androgynous piece of work... I don’t necessarily interpret it in terms of gender. More hard/soft, rough/smooth. I guess it’s how I think it sounds most balanced – a lot of open space in the track. Not a lot of high end, so it’s basically lows and I’m in the empty mid space. I don’t like competing with any instruments, so I’ll have producers mute anything that’s competing when I first start working. Is it in any way afrofuturist? I’m thinking like Grace Jones. I think it makes sense in retrospect, but it wasn’t something that I was shooting for. So, I see how it could be categorised like that, but the pursuit was more just trying to sound like “future club music”. Finally: what is your ultimate goal as a musician? To express myself honestly and clearly and have it intersect with lots of money. ‘CUT 4 ME’ IS AVAILABLE TO DOWNLOAD NOW. @KELELAM
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“It reminds me a bit of the early days of dubstep.”
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uring nearly two decades in existence, drum & bass has taken many evolutionary twists and turns. From ragga jungle to dark sonic art, circus-clown jump-up and the chart-topping vocal-led anthems of today – one thing that has always defined D&B is its infinite capacity for re-invention. And, over the last couple of the years, this enduring old genre has found yet another form, with certain producers breaking its strict pace of 174bpm in half, liberating the sound from its isolated tempo and enabling it to soak up influence from those genres that reside around the 90bpm mark. 2013 has seen producers such as Om Unit, Dub Phizix, Fracture and Alix Perez show exactly what’s possible at a half-time pace, but one of the stand-out records of this new take on an old sound has been ‘AYO’ by Sam Binga and vocalist Redders. If you’ve been to a decent D&B rave this year, you’ll have witnessed this record ignite floors with its raggalicious lead vocal and rocking half-time groove. Trap caught up with the duo in a pub in their home town of Bristol to find out more about one of D&B’s most intriguing new partnerships... Who are Sam Binga and Redders? R: I’m Redders, also known as Redskin. I moved from London to Bristol ten years ago and I’ve worked with a lot of different people over that time, including Central Spillz and Redlight. S: And I’m Sam Binga, I’ve done a bunch of different stuff in various styles of dance music. I’ve been lucky enough to travel round the world with it and make a living (of sorts) doing what I love. How did you two link up? S: The track that made me really want to work with Redders was ‘Twist Up’ with Redlight - the flow and personality are just so distinctive. As soon as I started building the Sam Binga beats, I knew I wanted to get Redders involved. ‘AYO’ was the result. R: Me and the Spillz boys wrote to some of Sam’s beats back in the day. Around the time Spillz came to an end, Sam got in touch. Those first few sessions went well, we’ve got more tunes on the go, and we’ve done a few shows together now. I think our styles fit together quite nicely, especially over a sound you can experiment with You’ve made waves this year with ‘AYO’ – tell us more about that track. S: The whole thing was a happy accident! The initial beat I had wasn’t quite popping and it needed a vocal. I was in the shower one morning and started coming up with some really basic bars that could fit over it... R: When Sam got in touch, he’d already written some bars with a specific kind of melody and flow. I took them, rewrote and edited
them but kept the melody and general flow until we got something we were both happy with. Then I went away, and he totally switched the beat up! S: Yeah, once I’d heard what Redders did, I knew the beat I had wasn’t going to cut it, but I was fully inspired to go in and do something better. And we hear you have some more stuff lined up together? R: Yeah, next up, we’ve got a track called ‘Lef Dem’, coming on the next Critical compilation. Lyrically, I wanted something that related to AYO, without being a carbon copy. It needed it to be punchy, not overly complicated, but still interesting; that can be difficult to achieve. S: Yeah it’s a fine balance to strike. But “Lef dem inna larder” is pretty out there, it’s well distinctive and Redders flows like a demon over the beat. Sam – this half-step sound has really picked up this year. What other producers on this flex are you rating? S: Yeah it’s exciting times, and reminds me a bit of the early days of dubstep - there’s only a few producers making stuff that’s really doing it for me. People like Om Unit, Fracture, Chimpo, Moresounds and Danny Scrilla feature heavily in my sets; Addison Groove has been doing some great stuff, plus the more jukey stuff like Deft, Mark Pritchard and Rashad. And Redders - You clearly takes influence from well beyond the standard D&B/grime MC realm... R: Yeah, growing up, I used to listen to a lot of 80s dancehall and bashment, so I’ve probably taken influences from artists like Capleton and Buju. Later, Richie Spice and Movado have inspired me to be a bit more melodic. I’m not afraid to sing, even in a rave full of hungry gurners. Reggae will always be a strong part of my life, but I integrate this with my love of British dance music. Any final shouts? R: Shouts to the Spillz boys, and Aodh - badbwoy cameraman behind the lens for the AYO video! And of course everybody showing love at the minute - its appreciated! S: Yeah, all the collaborators, the labels who are supporting and the people coming out to the shows. Also, a shout out to The Shambarber on Stokes Croft, who’ve been managing my transition from a baldie into the stylishly coiffed fool you see before you today.
‘Lef Dem’ is released in January on Critical’s ‘Underground Sonics’ compilation. @sam_binga
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ll of us here at Trap have a serious soft spot for a bit of UK garage, and the older members of our team can still remember those Moschino-draped, champagne sipping days only too well, for both good and bad. With the last couple of years seeing the sound enjoying a joyous revival among a new generation of ravers, this book from ex-Sleazenation photographer Ewen Spencer documenting the early days of the 1990s garage scene should be of interest to more than just those that were there. Introduced by Mike Skinner from The Streets, UKG contains over forty photographs, each capturing a moment in the development of one of Britain’s most important and influential musical movements, and is available in limited-edition hardback now. GOSTBOOKS.COM
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MELÉ
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PHOTOS:
Chris Brock
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hree years is a long time in dance music. Trap’s recent third birthday led us to reflect on just how much had changed since our first issue back in 2010, when dubstep was still the hipster’s sound of choice and the bass-ridden flavour of house music that’s dominated this year was only just taking root. Many of those who we marked back then for future frontcovers have since slipped into obscurity or mainstreamchasing irrelevance, while, at the same time, a new generation of then-unknown talent has risen to the very top. Among those, none more so than the young man who graces this issue’s front cover, but who only a few short years ago was just an 18-year-old kid from Liverpool living in a world of scouse house, donk and hip-hop CDs. Still only 21, Krissy Peers, or Melé, has released records for the likes of Mixpak and Grizzly and is without any doubt one of the best and most exciting DJs in UK dance music right now, wowing crowds wherever he plays with his quick-paced, flawless mixing and genre-smashing selections, all delivered with an energy that floods out from behind the DJ box, and his trademark spectacles. After a packed summer of massive crowd-pleasing festival shows and tracks such as his cheeky reworking of DMX’s ‘X Gon Give It To You’ getting support from the highest levels of the scene, it’s pretty clear that it’s all there for Melé’s taking in 2014. With his computer-game themed mixtape ‘Melé Vanelé Volume 2’ having just dropped, we at Trap thought we’d better grab Melé while we still could for his first ever front-cover feature and to track his story so far...
MELE You’re from Liverpool, a city with a world-famous musical reputation, but that’s never been known for its love of bass-music. How did you end up playing grime, garage, bashment and the rest at the biggest clubs across the country? I’m actually from just outside Liverpool – over the river Mersey in The Wirral. I tell people I’m from Liverpool because it’s easier, but my family don’t like me saying that! I’ve lived there my whole life, but you’re right, it’s a very weird place for what I ended up doing. Obviously, it has its legacy of The Beatles and Cream and all that, but for me, when I was growing up, there wasn’t anyone from Liverpool in electronic music that I could think was our person. You know, like Bristol had Roni Size, but Liverpool didn’t have anyone like that for me.
And I can’t think of a day since I was 13 where I haven’t listened to music all day. I still do it now, I’m always on YouTube or listening to mixes, finding new tunes. I do my girlfriend’s head in because at night we’ll be in bed and I’ll be on my laptop listening to some old Dave Clarke mix from the 90s. I don’t know why I do it, I think it’s something I feel like I have to do, in a weird way. I have to know about shit; I’m a proper nerd when it comes to music. If I have a rap album, I need to know what studio it was done in, who produced it, when it was done. So when did you first get your decks and start mixing? It’s the same story you read with every DJ. I got given a pair of belt-drives when I was young, but I didn’t know what a DJ was; I thought it was just scratching. I got given loads of house, techno, trance and stuff and would just scratch them into each other, no idea about beat-matching or anything. I got decks early, but it was very on and off, I wasn’t that guy that got decks and that was it. They sat in my room for ages, but it never really clicked for me.
Growing up when you did in the North-West, you must have been exposed to whole ‘donk’ and scouse house scenes? Yeah, when we were all in school aged about 13, there were all these crews from Birkenhead near me, they became our little local heroes; the music wasn’t great, but there was something there. “I CAN’T THINK OF A The first records I was given by my uncle, they were that fast 140bpm D AY S I N C E I WA S 1 3 old 90s techno, and that’s sort of similar to where scouse house was at. It W H E R E I H AV E N ’ T was fast. I listen to the tracks now and they don’t do anything; it just goes LISTENED TO MUSIC donk, and that’s why it’s got that name! It was slower than happy A L L D AY. ” hardcore with MCs over... Like those white northern MCs we’ve all seen on the Vice documentary? Yeah, it was very white. I never went to the main place for it in Liverpool, The Pleasure Rooms. It got closed down by the time I was old enough. I think it was Liverpool’s version of Niche or something. I suppose it was like what was grime was like in the South – you’d get grime Sidewinder tape-packs in HMV or whatever, we had Pleasure Rooms tape-packs in Virgin Megastore. Around that time, I was starting to get into electronic music; I only listened to hip-hop up to that point. I was really into East Coast stuff like Gang Starr, Nas, DJ Premier, Cam’ron, shit like that. I was properly obsessed with rap music. Then my uncle took me to see The Prodigy when I was 13. I remember thinking beforehand ‘That stuff is alright, but I’m not really into dance music.’ It was at Manchester Arena and it was something else. It was very hip-hop, with the breaks, but had this energy... After that night, Liam Howlett was my hero and I became obsessed with electronic music. I’d had a few techno records before, so I went back to them. I just listened.
When did it click? Honestly, it was so late. People think I’ve been DJing for ages, but it was probably only about four years ago that I properly started to think about how to actually mix tracks together. By that time, I was already producing and heavily into music, but I think I realised pretty quickly I was a lot better at DJing than I was at producing. It just came a lot more naturally. I always kept up buying vinyl until I was about 16. But then there was a point when life was about other stuff, going to parties, and I didn’t really care about DJing. I gave this guy at school all my records for £30; I didn’t think I’d ever need them again. A year later I thought ‘Oh no...’ So, like I said, it was always on and off for me. I was mad into computer games and just general teenage stuff. I was really into football. In my bedroom, I had Steven Gerrard and Michael Owen and all that all over my room. After I went to see The Prodigy, I took all that down. I went and bought these massive promo posters from a shop in Manchester – massive Grooverider and Prodigy posters. You said you were already producing way back then too? Yeah, I started producing when I got the decks, around 13. My uncle was always a music producer; he did a remix with his friend that came out on Virgin in the 90s and all that. He always did it, as far as I can remember. I had Dance eJay, then Reason, I was making like jungle with techno and Wu Tang samples, just stupid stuff and whatever.
46 TRAPMAGAZINE.CO.UK
“Smacking is to
wicked, feel
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it
for
but bit
I
an
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MELE I was 13, I didn’t know what I was doing. But then, it took me until very very recently to know what it was I actually wanted to produce and do. I didn’t really know until about a year ago.
meant to be on the ‘Monki & Friends’ EP, but I had to have it. It always seems to be the ones you do quick that have the biggest impact. It came together so easily.
That makes a lot of sense - you’ve always seemed pretty indefinable musically... Yeah, I guess so. Same as my DJing; until about eighteen months, I used to just think ‘I can play all this music and it’s going to be wicked!’ And it was the same with producing; I thought I could get away with making anything. I’ve started to think ‘OK, this is what I want to communicate with the DJ sets and this is what I want to do with my production.’ It’s taken a while.
And we hear you’ve got plans for a record label of your own? Yeah, it’s gonna be called Quadrants, after Quadrant Park in Liverpool which is an old rave place from the early 90s. It’s gonna be a lot of beats, rhythms, DJ tools and stuff like that.
Until about a year and a half ago, I’d play a lot of tunes I’d know would just get a reaction. It’s now more about playing what I love, so I’m trying to deepen and push things a bit more beyond what people know and expect. I want to really push producers I love like Champion and someone like Banks that might not be music for a club, but is something I love, and mixing it with old Joker and stuff. I feel a lot better for it; playing a set the way you want to do it. Smacking it for an hour is wicked, but I started to feel a bit shallow. That’s what the best DJs do, though. The likes of Jackmaster, Oneman and Ben UFO have all become the dons of our scene because they reach deep... Yes, exactly. Oneman is my favourite DJ and people can see that I’ve looked up to him. But he’s the guy that showed me you can play stuff that people want and know, alongside something deeper and more thought out. I’m trying to take a bit of that. It’s about keeping it fun. I still mix really quick – I start to get anxious if a tune’s been playing more than a minute! People I used to listen to, like Westwood or Funkmaster Flex, it was just cutting, so I get that from there. Some people don’t like that, I’ve seen negative comments about my mixing online, but I’m not playing in fucking Berlin! I’m not trying to do that; it’s about keeping people’s attention and having a good time. I’d be out DJing every night of the week if I could, definitely. I love it. Would you rather be the best DJ in the world, or the best producer? If I had to pick? I’d be the best DJ. It’s what I do. When I’m not in the studio, I mix all day and I’m constantly downloading new tracks. I like to keep it as fresh as possible. If I do the same set for two weeks running, it sends me mental. I just love DJing. But, then, it is really cool when you make a tune and it goes off – that’s a different feeling all together.... Which brings us to your production – you’ve released on some highly respected labels, but ‘DMX’ from earlier this year has to have been your biggest track? That is the first tune of mine that I really look forward to playing. And to see Rodigan doing a massive sign-on speech about me at Glastonbury and playing it, that was a moment. That was pretty cool. Who else would I want to play that tune than Rodigan? If you make a bashment tune, you want Rodigan to play it. That’s definitely spurred me on as a producer to push forward. That tune is weird though, I made it in like 20 minutes. I was in Red Bull Studios doing a session for ‘Monki & Friends’, the EP that Monki did with Red Bull. I was meant to be in the studio with Salva for two days, but he couldn’t make the first one. So I was in Red Bull Studios on my own, with these massive speakers; it’s like a club in there. I thought, ‘You know what, I’m gonna make a cover of that DMX tune.’ I’d heard it on the way in on my iPod. I do this really nerdy thing, just for fun, where I recreate hip-hop instrumentals; find the original samples and re-make them. So I was gonna do that for that DMX tune, just for me to listen to. I started doing these bashment drums, put the horns over it and thought, ‘That sounds pretty good, you know,’ and in 20 minutes I’d finished it. It was
I’ve got a few guys who’ve sent me stuff lined-up to be involved. I want my own place to put stuff out, do it all myself. It will probably cost me more in the long run, but I need to do it. The first release will be out early next year. I don’t need a big label to push me; I just want to get music out. Anyone that’s seen you DJ this year will know you always come as a duo with MC Slick Don. How did you two link up? We first met when we did a track a couple of years ago, a grime track. We kept in touch and then did our first gig in Birmingham, where he’s from. I had no one hosting my set, so asked him to come down. We got on really well and ended up with him doing most festivals with me last year, and then we just became best mates. We do each others heads in, but we get on well. It’s cool man. He wasn’t a host, he used to be a bassline MC, so he’s done really well coming from that to hosting. It’s a hard thing to do well. We’ve been to Israel, played to 8,000 people together at Sonar, Glastonbury – we’ve done everything together this year. He always says to me that if he’d stuck with the bassline thing, he probably would have never left the Midlands. So it’s great to have him. I feel like my sets have got so much better having him there. We’re gonna keep working together. I think I’m gonna produce a bit of his new EP, I want to get him on different shit, get him on some bashment. And finally, it seems like you’re doing a lot in reverse – you broke through first, and now you’re only just finding your sound as a DJ and a producer. A lot of people work for years, planning out how to get to your position – do you ever feel lucky? Yeah, I do, it’s cool. I said to someone recently, this is the first job I’ve ever had. I always feel bad saying that, but it’s true. I’ve been thrown into this thing, getting paid to do it at 18. It’s amazing, but I’m still trying to get my head around it. It sort of just happened. It’s partly right time, right place and all that. Sometimes, I do think ‘Why do people wanna listen to me?’ When I’m playing something like Global Gathering, I still feel like I’m trying to prove myself – I can’t get ahead of myself yet. I’m not trying to be the biggest DJ in the world right now... I mean, I do want to be one day, but... I remember my dad, I used to mix in my room when I was like 15, and he used to come in and say, you’ll be in Ibiza one day. And because he always used to say that shit to me, it didn’t feel weird when it happened. It’s weird, but having positive stuff like that around me, that’s a big reason and part of how and why I just did it. My mom and dad didn’t want me to just stay in college, they encouraged me and always believed in me. If that’s drilled into you from the age of 15, you don’t know any different.
MELÉ’S VIDEO GAME-THEMED MIXTAPE ‘MELÉ VANELÉ VOLUME 2’, FEATURING THE TRACK ‘DMX’, IS AVAILABLE TO DOWNLOAD NOW. @UKMELE
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WORDS:
David Clark
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he world of graffiti and street-art is a universe unto itself. Those who exist and operate within its realms often share passions far beyond simply tagging walls, painting canvases and throwing up stickers. Night times spent dodging security, climbing over fences and scurrying through train tunnels, combined with daytimes spent dreaming up and seeking out the ultimate spots on which to daub throw-ups or tags leads naturally to an interest in the darker, less discovered or deserted corners of our cities and world. And so, The Lurkers came to be. The less we say about this unique collective the better explore their world over the following pages and through their ever-intriguing blog. As they say themselves – they put the lurk in, so you don’t have to.
WHAT ARE THE LURKERS? The Lurkers are a group of socially inept revellers, bound together by a communal sense of adventure and untoward pursuits. We’re based loosely in London, but with a foreboding worldwide out-reach. WHERE DO YOU LURK? Everywhere and nowhere at once. Two key elements of lurking are omnipresence and guile. Frequently found in turbo folk raves in Eastern Europe or perilously perched in decrepit infrastructure - with an occasional foray into aristocratic soirées. WHY DO YOU LURK? Jesus Christ once said “Blessed are the lurkers for they tend to see what’s going on.” Do you want us to elaborate on JC’s words? Thought not. FUTURE LURKS? It’s a coin toss whether to move our office to a motorway hotel in Bosnia and start working on extremely raw content exclusively in the Balkans, or to sell our whole concept to Ronald Mcdonald and then retire to a mountain lodge in Bavaria, only to surface once a year to shoot pharmaceutical products and do creative consultation sessions with Tesco. ___
THE-LURKERS.CO.UK
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52 TRAPMAGAZINE.CO.UK
“Music isn’t a product, it’s a feeling.”
O
ne of dance music’s biggest and most loyally followed labels, Caspa’s Dub Police imprint has come a long way since its first release back in 2006. Back then, no one could have thought just how huge dubstep would eventually go on to become - and the Dub Police releases, producers and parties all played an important part in helping dubstep conquer the world. In November, the label took a moment to reflect on all of this with the release of ‘Past Present Future’, a 45-track CD and vinyl pack that reminisces and looks forward in equal measure, spanning the history of not just the label, but its camp of producers’ sounds. We met up with the Dub Police’s longest-serving member (other than Caspa), The Others, to find out more about what the compilation means to him and reflect a little on the evolution of the sound and label he’s dedicated his life to.... You’re the longest serving member of the Dub Police camp, joining back in 2007. What were your first impressions of the label? I owned a few of the early Dub Police releases on vinyl; some L-Wiz, N-Type and Caspa tracks. Even then, I was already feeling the direction of the label and wanted to be part of that. Labels like Dub Police really laid down some important markers and it was a very exciting time for everyone. I would go to dubstep nights and give CDs to the producers and DJs I really looked up to - because the scene was so small, they would all gather at the same clubs. It did feel like the beginning of something special; the music was completely different from anything else around. Dubstep was just about to blow up in a big way – did you ever imagine it could grow to the levels it has? I don’t think anyone could have foreseen the ways things would go, and I think people actually underestimate how much it’s changed things within the industry. In the UK, we’re lucky enough to have such a vibrant underground dance-music scene that’s been going strong for many years and dubstep was another exciting evolution within that. But when you get out to the USA and see what kind of impact it’s had over there, it’s crazy! The whole ‘EDM’ boom there has largely been down to dubstep. It’s affected many aspects of mainstream America - everything seems to be jumping on that EDM machine. To think that dubstep is where a lot of this change out there has stemmed from, it’s mind blowing. Part of it is the internet and the way people consume music these days, also part of it is timing, but you have to put some of it down to the music itself.
What do you think the genre lost by becoming so popular? Going back to 2006-7, there weren’t many dubstep labels, but every release on those pioneering labels was essential because of the costs; they would only fund vinyl releases they truly believed in – basically, quality control. Maybe, with the huge influx of digital labels, the bar has been lowered. I think it’s harder to find stuff you like these days. Obviously the sound has evolved for the good and bad, it’s reached massive audiences and dizzy heights for many DJs and producers. You will hear the clichés like “selling out” or “I prefer their early stuff ”, but actually, if you look around at dubstep today, you’ll see a good chunk of those that pioneered the music still there doing what they’ve always done. What really changes is the people who listen to the music. So I don’t feel the genre has necessarily lost anything. And what has it gained? Going back to the whole quality control point in the last question, there’s definitely two sides to every coin. Yes, maybe the bar has been lowered on the overall quality of the music and yes it’s harder to find music you like, but it’s also opened the gates to some amazing producers from all around the world who may not have had the opportunity otherwise. That has to be the biggest gain for dubstep; there have been some great additions to the sound over the years and this will continue for a long time to come. A lot of artists have been through the Dub Police ranks, but you’re still there – why? The day I believe that me, Caspa and Dub Police don’t all share the similar vision is the day I’ll go elsewhere. But I’m not sure that day will come, if I continue to make dubstep I will release it on Dub Police because I think it’s the best label out there. And the future – what does it hold for you and the label? For Dub Police I think it’s a case of business as usual. There’s no doubt dubstep is continuing to evolve and I’m sure the label will remain pivotal in the changes we’ll see over the future. As for The Others, check my tracks ‘Amazonia’ and ‘Joy’ on the ‘Past, Present, Future’ compilation as well as some other new projects to watch out for in 2014. ‘Past Present Future’ is out now on Dub Police. @otherdubstep
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B O S S S E L E C T I O N S #17
GOING IN DEEP... CALIBRE
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HERE ARE VERY FEW MUSICIANS WORKING TODAY AS PROLIFIC AS DOMINICK MARTIN, AKA CALIBRE. FOR OVER 10 YEARS, THE BELFAST PRODUCER HAS CONSISTENTLY PUSHED A BRAND OF FUNK-FUELLED DRUM & BASS THAT HAS BROUGHT HIM FANS AND RESPECT FROM ACROSS THE FULL DANCE MUSIC SPECTRUM. AFTER A YEAR THAT’S SEEN THE RELEASE OF THE EIGHTH SOLO CALIBRE ALBUM, A SECOND DOMINICK MARTIN LP AND A DEBUT MIX ALBUM FOR THE SEMINAL FABRICLIVE SERIES, THE TIME WAS DEFINITELY RIGHT TO INVITE ONE OF UNDERGROUND DANCE MUSIC’S TRUE PIONEERS TO SHARE THE TEN TRACKS THAT HAVE INFLUENCED HIS SOUND.
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01
LAURIE ANDERSON
‘Oh Superman’ I remember listening to this as a kid one night on Radio Luxemburg. It made me very emotional, but it also opened up my mind to a more artistic and intimate type of music. This reached Number Two in the UK singles charts in 1981. 02 DJ SHADOW ‘ In/flux’ This epic piece of music was something that got me into the breaks-influenced sounds in the mid-90s. This track, in particular, showcases DJ Shadow’s talent for sampling and arrangement. Fantastic! 03 GALAXY 2 GALAXY ‘ Journey of the Dragons’
Underground Resistance are part of the fabric of electronic music and here is one of the highlights of their extensive back catalogue. Soulful, mesmerising music.
04 BRIAN ENO ‘ Under Stars’ To be honest, I could have picked any track off this amazing album. When I first heard this, it was like an epiphany. It was my first experience listening to ambient music and to this day remains a classic. 05 KENNY LARKIN ‘ Amethyst’ I think Kenny Larkin had a conceptual take on techno and mixed it with a simple musical efficiency. This track is what I love about his music; an effortless funky style that has an under-rated simplicity. 06 GOLDIE ‘ Terminator’ ‘Terminator’ was my first real D&B experience. This tune stayed with me for a long time. It had a different sound, full of energy from a mysterious place, which, in Northern Ireland at that time, still felt very far away. 07 DILLINJA ‘ Silver Blade’ Released on Grooverider’s Prototype label, this tune is D&B at its finest, incorporating both soul and grit. As a producer in D&B, if you can get some of this in your tunes, you could be on to something. But this has everything. 08 UB40 ‘ King’ My introduction to reggae was through UB40, primarily. I went on to discover many delights in dub and reggae as I traveled to places that sold that type of stuff. This tune still feels especially nostalgic and full of memories of a strange, uncomfortable time in 1980s Belfast. 09 CARL CRAIG ‘ At Les’ I love the jazz influences in the beats. A more chaotic rhythm stands out to form the groove, and this has a hypnotic sound that I search for in all types of music. I could pick many Carl Craig tracks, but this one slips through the cracks of time very nicely. 10 SPACEMEN 3 ‘ Ecstasy Symphony/Transparent Radiation’
This is the link between my interest in indie rock and ambient music. Taken from the ‘Perfect Prescription’ LP, it’s a truly beautiful mix of two tracks from one of my favorite LPs of the late 1980s.
B O S S
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DC BREAKS ‘Gambino’ MEFJUS & ICICLE ‘Contemporary’ TESSELA ‘Horizon’ AUDIO ‘Headroom’ VIP HYBRIS, QUADRANT, D-STRUCT & IRIS ‘Graphene’
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ROCKWELL ‘Sick Of It All’
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PHACE ‘The Set Up’’
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BSE & JADE ‘Deadhouse’ (Mefjus & Inside Info Rmx) SIGMA FT. DOCTOR ‘Rude Boy’ CRITICAL IMPACT FT. JAKES ‘ Illa’
S E L E C T I O N S
MARIBOU STATE
SOUTHERN FRIED
KRY WOLF
FOOD MUSIC
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DARKSIDE ‘Freak, Go Home’
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DOC DANEEKA ‘Walk On In’
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JOHN BELTRAN ‘Cloud Pull’
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MEDLAR ‘Tides’
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JON HOPKINS ‘Abandon Window’ TRIANGLE VISIONS ‘Wire People’ (Tom Demac Rmx)
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CATS EAT DOGS ‘Evil Tram’ MY NU LENG ‘Hips N Thighs’ (Kry Wolf Rmx) S3A ‘Intensity’ KRUSE & NUERNBERG ‘Love Ain’t Free’ (Kry Wolf Rmx) SCNTST ‘Basement Stucture’ GROWN FOLK ‘The Boat’ (Gerd Rmx)
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JUNGLE ‘Drops’
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FOUR TET ‘Aerial’
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MIDLAND ‘Drumtrak’
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TESSELA ‘Gateway’
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PATCHWORKS GINGER XPRESS
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MARIBOU STATE ‘Moon Circles’
(Brooklyn Mix)
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KRY WOLF ‘U like’
‘Brothers On The Slide’
KAHN & NEEK
BANDULU
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BOOFY & LEMZLY DALE ‘Catch A Body’
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OH91 ‘Stealth’
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BOOFY ‘Since When’ VIP
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LEMZLY DALE ‘State of War’
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SPOOKY VS KAHN & NEEK
‘Chevy RIP’ 06
ESHONE ‘Ups & Downs’ VIP
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GANTZ ‘Spry Sinister’
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MALA ‘Jah Power Dub’
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TRENDS ‘Crude Activity’
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ISHAN SOUND ‘Namkha’
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PETE GRAHAM, MARC SPENCE & CHRIS LORENZO ‘Who Dat’
3xCD Featuring traCks by: anDy C Chase & status sub FoCus/Wilkinson DJ Fresh/MaJor lazer Calyx & teebee/auDio noisia/netsky & Many More
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R E V I E W S #17
CONTRIBUTORS: B ’ t o l , T i m D u b B o y , O l i G r a n t , O s c a r H e n s o n , J u s t i n I r i a j e n , N a c h o J P, F i r e M a n S a m , E r i n M a t h i a s , C h r i s t i a n N e w m a n , B o b b y B a n n o n , Shaun Phillips & Gwyn Thomas de Chroustchoff.
GUIDO ‘MOODS OF FUTURE JOY’
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he outcome of 18 months of hush from Guy Middleton is an album that’s demanding, rarely disappointing and, occasionally, absolutely outstanding. The ‘purple’ dubstep trailblazer returns with his sophisticated handling of poppy R&B melodies on both vocal tracks featuring Emma-Lou. Lead single ‘Green Eyed Monster’ clashes a sweet “cry me a river” pre-chorus with a squelchy, tacky drop, and on ‘Letting Go’, hyperactive synths march onwards as the vocal melody is dragged behind. This kind of playfulness can smart a bit, but, toying with genre by placing sugary vocals within an ominous, urgent soundscape, Guido keeps his listener alert.
(Tectonic)
Guido’s assembled some unique ideas and sounds here, more so than on his 2010 debut, ‘Anidea’. ‘Heartful Dodger’ is reminiscent of NY electronic rock duo Ratatat in its charm. With a crackly, lip-smacking beat and a vocoder lead, it’s a track that would sit beautifully in Guido’s planned live band set-up. Perhaps this explains ‘Afrika Part 2’ - part sweeping house anthem, part 70s Afro rock, topped off by a boisterous guitar solo. More quintessentially purple, ‘Same Road’ is a steady roller crammed with toybox synths, ‘Lucky Git’ a warped 2-step bounce, while ‘Jupiter’ is two lovers undressing. As a low point, the TNGHT-like ‘NRG’, aside from its irresistible rave keys, sticks out as slightly more unsuitable. And although pretty in composition, tracks such as ‘Midnight Savanah’ and ‘Squeaky Jungle’ lack impact. More soundscape than song, they’re best characterised as driving music, although it’d certainly be very a nice drive. ‘Moods of Future Joy’ may be a less sexy product than ‘Anidea’, but it’s also more complex, challenging and multi-faceted. Guido retains his spot as an ambitious, distinctive and charming producer.
___ EM TRAPMAGAZINE.CO.UK 69
R E V I E W S
VARIOUS ARTISTS ‘WAY OF THE WARRIOR 2’ (Shogun Audio)
BELLE ‘LAPWING’ EP (WotNot) ___
O
ne of the handful of drum & bass labels still doing their thing with integrity, passion and commitment to truly good music, the arrival of the second ‘Way Of The Warrior’ compilation from Shogun Audio has Trap’s D&B heads salivating with anticipation. Following the fist instalment from last year, which won DJ Magazine’s ‘Best Compilation’ award, ‘WOW2’ is a celebration of the strength of talent that calls Friction’s label home, with many of D&B’s best and most respected producers contributing to this 12-track LP. Label regulars Icicle, Spectrasoul, Rockwell and, of course, boss man Friction alongside K-Tee, all contribute their trademark Shogun sounds, while DLR, Optiv & BTK and Sam Binga & Addison Groove make guest appearances. However, where ‘WOW2’ really intrigues is on the tracks from the imprint’s newer signings. Technimatic, Joe Ford and Fourward all showcase the skills that have earned them status as full Shogun camp members this year and suggest that this is a label that, even after 50 solid releases, shows absolutely no sign of slowing down.
___ BB
Belle’s debut EP is a spooky take on neo-soul, smeared in grit and glitter. Though not groundbreaking - the orchestral title track evokes bloated, Morcheeba-like seaside trip-hop - there are some lovely features: ghostly backing vocals, thoughtful production and just enough coquetry with the minor key. ‘We Once Were’, with K15’s erudite production, is an innovative love song, easing you out of your bedroom and upwards into a clacky jungle outro.
___ EM
MIDLAND ‘DIVING BELL’ EP (Graded) ___
More primal rhythms and warming synthesis on Midland’s own label. The title track is a shadowy set-starter: granular synths steadily swell inside a subaqueous tomb with caustic conga drums. The more angsty ‘Drum Dub’ is still spectral and reflective, but leaves the blocks a little quicker, while ‘Drumtrack’ takes up the husky saw-tooth sways and sharp, technical percussion that his Graded debut held. Arresting and effective tools here.
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R E V I E W S CURL UP ‘MISSED U’ EP (ITerrorhythm) ___
Plastician’s label – the one that introduced the world to Om Unit and put Joker on the map with his absolutely out-there grime-dubstep smash ‘Gully Brook Lane’ – still does things differently. The dubstep originator’s newest signing is an NYC upstart named Curl Up, and his EP is a mix of lurid purple synths and trap-like ‘POW!’. HudMo and Rustie are definite touchstones, but with its rollicking Bmore-club breakbeats, it’s got a US feel.
S ZED BIAS ‘BOSS’ (Swamp 81) ___
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he garage legend, now inducted into the Swamp 81 camp, drops a fresh album in his new style: broken house that’s full of syncopation, oozing bass, and cold atmospheres. It fits Loefah’s label like a glove, and happily, Zed Bias’ uplifting mark is always subtly there; Swamp 81’s output sometimes has an overwhelmingly sharp chill. ‘Eingang’, opening, is a gratifyingly slow, throbbing roller, wrapped in elastic bass, while jazzy licks tighten the rhythm and add a light tint. A surprise appearance from Chicago house king Roy Davis Jr and his club-whisper vocals makes ‘We Are There’ a solid jacking house track. None of the other tracks are quite as memorable as those two, but Zed Bias has an unsurpassable skill for making the most stripped-back and minimal drum tracks incredibly funky, so this is quality all over.
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GTDC
GORGON CITY FT. MNEK ‘READY FOR YOUR LOVE’ (Black Butter) ___
Gorgon City return with another anthemic bass-heavy slice of vocal house music that’s so current it hurts, featuring one of the UK’s most exciting talents, MNEK. Following on from their summer smash ‘Real’, ‘Ready For Your Love’ has all the elements to light up both the dancefloor and radio waves. The latest acts to emerge from the Black butter stables, we can guarantee this is just the start of a huge 2014 for both GC and MNEK.
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GTDC
VISIONIST ‘M’ / ‘SECRETS’ (Ramp Recordings) ___
SHADOW CHILD ‘COLLECTED’ (New State) ___
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ith a new alias and a few tweaks to his style, Simon Neale has quickly, shrewdly, become a relevant and fast-rising figure in this decade’s renovated house scene. The move from big but uncool labels like Ministry of Sound and Toolroom to the likes of Dirtybird speaksvolumes about his savvy repositioning. It’s not too surprising a move for the artist formerly known as Dave Spoon, after his dabblings with DJ Zinc’s crack-house bass & bump in 2009, and the jump-up house sound on this two-CD collection of pretty much all of his released tracks and remixes picks up where that short-lived sound left off. With simple, jaw-grinding bassline hooks and shuffle-worthy house beats, this isn’t nuanced music by any means; it goes straight for the feet.
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GTDC
___ BB
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Visionist continues to live up to his name with these two stylistically singular cuts of skewed, techno-indebted grime. Both find their basis in perpetually driving kicks and brilliantly sculpted low-end, over which we are treated to what can happily be described as some of his most outstanding vocal work to date; the ice-cold dread march of ‘M’ in particular.
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N3GUS FT BUGGSY ‘GET YOU’ / ‘HOT HEAT’ (Power of 3)
Known for his unmistakably Bristolian take on dance-floor friendly drum & bass through releases on top-ranking labels such as Spearhead and Hospital, N3gus launches his own imprint with an incendiary link-up with homecity Rasta barsman Buggsy. One of the freshest, most interesting pieces of D&B we’ve heard all year, ‘Get You’ rocks a half-time, synth-heavy groove that lets Buggsy run ragged. Backed by more classic Bristol D&B flavours on ‘Hot Heat’, this is a powerful debut.
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R E V I E W S HEADLESS GHOST ‘77’ (Tamed Musiq) ___
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This is the second disc of a trilogy from well-established house producer Ripperton’s recent alias, all about the analogue hardware. ‘11’ goes back to the jacking sound of Chicago and its most characteristic basslines and drum machines; ‘44’ is a 10-minute trip that will burn down dancefloors, while closing track ‘22’ is his deepest take on Chicago house, reminiscent of Larry Heard. An interesting take on a frequently revisited sound.
___ NJP
MSSINGNO ‘MSSINGNO’ EP (Goon Club Allstars) ___
The ongoing instrumental grime renaissance has given birth to a new wave of highly experimental producers who are attempting to redefine the sound, of which Mssingno is one. Drawing from the coldness of the early Eski releases, at points completely beatless and at others channelling 808 bass that would make Faze Miyake proud, he combines lush synths with sludgy-layered Burial-style edits of Teedra Moses and R Kelly vocal samples. A must listen!
___ FMS
BUNJI GARLIN ‘IT’S A CARNIVAL’ (Mad Decent) ___
A SAGITTARIUN ‘DREAM RITUAL’ (Elastic Dreams) ___
BREACH ‘DJ KICKS’ (K7) ___
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f you’re sick of Ben Westbeech for ‘Jack’, his paean to the dancefloor that stomped into the UK Top Ten (perhaps you feel he’s lost his way since his sensitive future-soul and the jerking anthem ‘Fatherless’), this mix will probably make you rethink your position. Here, he drops an exclusive of his own - a pleasingly subtly,synth-washed Chicago house number. That alone might surprise you, not to mention the inclusion of mystical, ocean-deep techno by Fred P, and eclectic, arp-dripping electro from the mysterious Dopplereffekt. Westbeech’s skill is evident in the way he switches up the tone so often, but with a real sense of stylistic harmony. The range and subtlety of this mix are satisfying, pegging Breach as a real DJ.
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GTDC
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CHESUS ‘DECISIONS’ EP (4LUX) ___
Well-groomed, immaculately produced deep house from Cardiff producer Chesus is next up on Gerd’s 4lux label. Hooky samples sit at the cores of tracks that are clearly influenced by a certain Mr. Chandler. The wise self-restraint in the swells of ‘Monster’ and the rolling ‘Thunder & Lightning’ (co-produced by The Organ Grinder) make those two the top picks here. With Kerri himself reportedly supporting Chesus’ material, this release will further elevate the Welshman’s standing.
Soca superstar Bunji Garlin made real waves with his anthemic “Differentology” and the Jus Now collaboration “Tun Up” killing festivals and carnivals all over this summer. Now Garlin has teamed up with Major Lazer’s Diplo and respected soca producer Kubiyashi for an bashy electro-soca banger. This is a really exciting fusion of club music and driving soca that is aimed straight at your waistline. Absolutely electric stuff. TDB ___
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his artist and label appeared simultaneously two years ago, the work of a wellestablished producer who’s keeping their identity secret. Like the string of brilliant records that came before it, there’s a wonderful scent of 90s British rave drifting throughout ‘Dream Ritual’, as it absorbs touches of acid house, classic hardcore, cosmic Detroit techno, Leftfieldesque electronic dub - and even b-boy electro breaks - with ease, elegance, and an amazing cohesion overall. This is a more spaced-out and mind-wandering trip than some of the spankers on those earlier records - and string and synth melodies, everywhere, are beautiful, soaring, contemplative things, with the analogue feel and nebula-drifting wonder found on old Warp and Rephlex tracks. This is genuinely one of the fullest, brightest, most enthusiastic albums of the year. GTDC
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R E V I E W S
ANDY C ‘HAUNTING’ / ‘WORKOUT’ (Ram Records) ___
SOUL CLAP ‘NICE’N’RIPE ALLSTARS’ (Nice N’ Ripe) ___
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oul Clap are the Boston duo with a reputation as perhaps the greatest pair of party DJs of the new millennium, with an unbounded attitude and a crate-digger’s insight into club music, from house to electro-funk. It’s highly appropriate, then, that they should have been chosen to mix and curate this retrospective collection of tracks from the most influential label in UK garage. Nice’n’Ripe’s discography goes back to 1993, its legacy running deeply through so much of the dance music we listen to today, and Soul Clap do a masterful job as their mix plots a path through the swung, soulful, house of the early years into the futuristic 2-step groove-forms that emerged. From Grant Nelson to Jeremy Sylvester, this is foundational stuff that today’s bass-music youth should explore.
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PEARSON SOUND ‘HES026’ (Hessle Audio) ___
Hessle continue to show that, despite falling BPMs, there remains ample room for exploration in the continuum linking hardcore, garage, grime and dubstep. ‘Starburst’ comes with the full junglist fury of early Pearson Sound classic ‘Blanked’, whilst ‘Lola’ sounds like a woozy, loping take on early Ruff Sqwad. ‘Power Drumsss’ is the pick of the lot though: weird, pounding, rattling techno capable of reminding British dance-floors what they’ve been missing.
___ OH
150 releases in, and Andy C’s Ram imprint continues to set the benchmark for dancefloor D&B - who better to put out this landmark release than the executioner himself? The chainsaw-throwing ferocity of ‘Haunting’ and the funk-sampling bashiness of ‘Workout’ are perfectly suited to the world-renowned freneticism of his DJ sets. This is ravecharged D&B as it should be!
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LOGOS ‘COLD MISSION’
(Keysound Recordings) ___
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ogos is often cited as part of the much-reported new wave of instrumental grime spreading across the UK. With ‘Cold Mission’, such a categorisation feels reductive. Pirate radio sounds circa-2002 are an obvious influence (see ‘Menace’ in particular), but Logos moves far beyond the nostalgia of his peers. Rather, reference points are laid – Metalheadz jungle, old Slimzee sets, retro-futurist synths – only to be flipped, reversed and exploded from the inside out. Logos is finally finding a home on Keysound, who themselves are finally finding the sense of direction and continuity that their inspired yet meandering back catalogue missed. A fresh, captivating and bewildering debut; Logos and the rest of the Keysound roster are spearheading something new and fresh – and a simple case of ‘new grime’ it ain’t.
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OH
S PANGAEA ‘FABRICLIVE 73’ (Fabric) ___
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angaea’s entry into the Fabriclive series is bound to cause a stir, not only among followers of Hessle Audio but also with techno heads in general. Yes - you read that right: this is pretty much all about techno, though in varied forms. The mix opens with an uptempo banger that’s quite misleading, as this is certainly not a set of classic 4/4 material. From Pev & Kowton’s abstract post-junglist bass to MGUN’s raw beats, and Reeko’s hypnotic vision of the genre, a huge range of rhythmic and sonic experimentation, there’s much more to this mix than the sum of its parts. It is not the destination, but the journey itself that makes this a unique and addictive experience; something for your mind...
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NJP
MOSCA ‘THOUSAND YEAR WAIT’EP (Ann Aimee) ___
Mosca’s aptly titled EP for this offshoot label from Delsin has the chameleon-like producer donning a techno skin not seen so prominently since 2011’s ‘Wavey’ EP. With each track sounding like different stages of a imprisoned robot’s failed escape attempts, it’s the human touches - such as the well composed synth-work and processed stabs on ‘It’s Not What It Looks Like’ - that prevents the whole thing from being overly perfunctory and mechanical.
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R E V I E W S ANDY MAC ‘REGULAR & IRREGULAR’ EP (Idle Hands) ___
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Continuing a busy year for Idle Hands, this Detroit-via-Bristol double-pack is one of their strongest releases to date. Stand-out moments include the yearning expectancy of wanting ‘Cities and Desires’ to drop, the swung abstinence of ‘Lit’ and the raw, metallic strut of ‘Hearts and Lungs’. This is an EP that makes you relish the fact that, however effortlessly refreshing Andy Mac’s music is, you just know its going to keep getting better and better.
STEP BROTHERS ‘LORD STEPPINGTON’ (Rhymesayers) ___
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legendary producer, Alchemist, meets a legendary microphonist, Evidence, of Dilated Peoples, and they become the Step Brothers. This album gives what you’d expect, in the best possible way: contorted psychedelic samples and dusty bass, with trademark ALC drums, irreverent and quotable rhymes and some of the finest guests the US underground has to offer. It’s a smoky, downbeat affair; the vocal warmth of ‘More Wins’ sets the tone for proceedings; ‘No Hesitation’ features regular Alchemist collaborator Styles P’s invigorating prose, and the brilliantly named ‘Swimteam Rastas’ and ‘Mums In The Garage’, featuring Action Bronson, add to the hypnagogic feel throughout. The latter half jumps in and out of bangers - ‘Step Masters’ and ‘Just Step’ in particular - including the subtle, drumless loop-laden rhyming on ‘Draw Something’. Blaze one and enjoy some underground rap that knocks, without taking itself too seriously.
B’TOL ___
KID DRAMA ‘IN MIND’ EP (Exit Records) ___
Kid Drama, AKA Jon Convex, makes a welcome return to the Autonomic crew and their interpretation of D&B. The ‘In Mind’ EP presents four quite sinister and occasionally abstract pieces with a warm and dreamy side. ‘In Mind’ is a floaty, stirring soundscape, whereas the collab with Om Unit - ‘Grind’ - supplies the filth for yet another first-rate Exit release.
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HOT SINCE 82 ‘LITTLE BLACK BOOK’ ___
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aking massive waves this year with numerous original productions and remixes, Hot Since 82 presents his ‘Little Black Book’ for bass-drenched house imprint Moda Black. A new concept from Andy George & Jaymo’s label, this is part mixtape, part album, part compilation, and features 14 of the producer’s finest works to date, all seamless blended into one neat package. Remixes include Hot Since 82’s gargantuan reworking of Green Velvet’s ‘Walk Around Like You Bigger Than Prince’, Shadow Child’s ‘So High’ and Rudimental’s Right Here, alongside plenty of original tracks from one of 2013’s breakthrough producers. Captivating from start to finish, ‘Little Black Book’ is one of the best house mix CDs we’ve this year, made all the more impressive by the fact that every track here is the work of just one man.
JC ___
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TRADESMAN FT. PARLY B ‘DEM NO KNOW BOUT STYLE’ (Scotch Bonnet) ___
Tradesman and Parly B’s second outing on Mungos Hi Fi’s influential label further cements their reputation as one of the UK’s most exciting dancehall tag-teams. Tradesman lays down an ferocious digital riddim here that combines early-90s influences and forward-thinking production in devastating fashion. Parly B’s distinctive vocal delivery rides the track superbly; this really is a great example of contemporary UK dancehall.
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VESTER KOZA ‘MASLO 03’ (Maslo) ___
The East Londoner continues to percolate his deep techno on the self-released underground. The A-side is a haunted rove: short breaths of reverberated keys rotate celestially, while drums fall in and out of formation on a rumbling underbelly, and delay brushes hats into every corner of the mix. The B-side rubs the skull like a Kassem Mosse track and drowning melodies push against a rasping surface as mechanical stutters clatter against the walls. Dark and purposeful.
___ CN
R E V I E W S 7 DAYS OF FUNK (SNOOP DOGG & DAM-FUNK) “FADEN AWAY” (Stones Throw) ___
VARIOUS ARTISTS ‘UNDERGROUND SONICS’ (Critical) ___
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lways looking to keep things fresh and interesting, the Critical Records ethos is one we’re only happy to help push. Today, the label stands at the forefront of yet another renaissance for truly underground, 170bpm music. This compilation finds the label drawing from their large roster of much-vaunted artists and affiliates; brimming with 18 tracks of engaging, minimal, groove-infused slabs of sonic perfection. Fans of this sound will not be disappointed with the variety on show here. From Dub Phizix’s uncharacteristically warm roller ‘The Clock Ticks’, through to another vocal-led future-anthem by Sam Binga & Redders in ‘Lef Dem’, this release ticks all the boxes. Critical Records once again providing further proof of this ever-evolving genre’s enduring appeal.
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SNAP SHOT ‘DARK SHADOW’ VIP / ‘DOOMS’ VIP (NB Audio) ___
It’s an all-Mancunian affair here. From the buttons to the mic, Snap Shot’s productions are dark and simplistic, allowing space for the MCs to compliment them with aplomb. Tonn Piper - a staple in the northern D&B community - generally opts for a spoken-word approach, while the ever-diverse Chimpo rides the riddim, skilfully striking a balance between profanity and comedy.
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Between Lion, Dogg and ‘Sensual Seduction’-style transgressions, Snoop can be one of the most lovable, interesting characters in the business. Here, the S N double-O P channels his inner Bootsy Collins (under ANOTHER moniker: Snoopzilla) for his finest work since he dropped it like it was somewhat warm. Dam-Funk excels at this kind of p-funk magic; don’t be surprised if this reviewer is rocking a jheri curl ahead of the 7 Days of Funk album.
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SLACKK ‘MINOR TRIADS’ (Self Released) ___
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n extended, self-released LP edition of his stunning ‘Minor Triads’ EP sees Scouse grime aficionado Slackk experiment with a diverse selection of wonderfully odd productions. It’s an enthralling cultural mishmash as he laces the brittle, probing drum patterns of grime with Japanese pentatonic scale melodies and Eastern instrumentation. The effects range from the soundtrack-esque gravity of ‘Shinai’ and ‘Séance’, to the macabre moodiness of Koto-strumming ‘Five Venoms’, and the raw, hoods-up toughness of ‘Mirror Flash’ and ‘Inland’. Minor Triads is a snapshot of the expressiveness of Slackk’s music and transcends the ever-blurring boundaries of grime; creating a unique, ancient East-meetsEast London aesthetic in what is a vividly melodic and rhythmically varied listen. Highly recommended.
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S BUGGSY ‘THE GREAT ESCAPE: SEASON 2’ (Self Released) ___
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ristol’s breakneck barsman Buggsy returns in rare form with the follow-up to ‘The Great Escape’. From the hip-hop-heist intro to ‘Won’t Stop’, it’s clear he means business. ‘Do What You Gotta Do’ sounds like a progression from ‘Born Inna System’: dub-tinged and centred around self-empowerment and positivity through any means. This theme is developed with the brassy brilliance of ‘No Time To Waste’, with Eva Lazarus. Production jumps from straight-up boom-bap to 808-driven double-time and dub: with and without a step. Buggsy’s trademark flow suits every genre and tempo jump equally, while also demonstrating Buggsy’s keen ear for both melody and lyrical tongue-twisting. A rarity perhaps in this genre, this album shows growth without forgetting what made people love Buggsy in the first place. Thus, we have perhaps his best work to date.
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B’TOL
SEI A
‘MAKE IT WORK’ EP (Aus Music) ___
Aus Music stuffs a quivering flagpole in the centre of the dancefloor with a set of heavy rattlers. Propelled by its capacious kick drum, the title track’s vocals and hypnotic stabs win out, while the laudable Breach steps in with a stout revision. ‘I’ll Take You There’ maintains vivacity while the digital-only “Hing” beams in a welcome measure of cosmic melodicism. Rich and physical stuff from Sei A.
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R E V I E W S MURLO ‘LAST DANCE’ (Glacial Sound) ___
Think Eskiboy-era grime re-imagined, with flecks of soca rhythm in a quirky, melody-heavy style aimed squarely at the dancefloor. Murlo decorates punchy drum patterns with ornate synth detailing and gliding strings across three tracks of brilliantly original, almost regal sounding instrumentals. Backed up with a bassline-lead ‘Swing Ting’ remix and a woozy version of ‘Velvet Wall’ by Slackk, it’s a cracking sophomore record from Glacial Sound.
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FAMOUS ENO ‘GYPSY RIDDIM’ (Mixpak) ___
Famous Eno featured in Trap’s last issue, winning plaudits for his and Murlo’s head-mangling collaboration ‘Ariel’, and he’s back with with this innovative bit of UK dancehall. A violin lead drifts eerily through the gunshot-and-siren-laden riddim, almost reminiscent of some of Ruff Squad’s early-Noughties productions. Threre are some brilliant vocals here too, with Jamaica’s Vyral standing out among Rubi Dan, Serocee, and Trigganom.
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MORESOUNDS ‘MORESOUNDS’ EP (Astrophonica) ___
This is the French producer’s debut on Fracture’s label, melding a mix of influences, from ricocheting jungle breaks to deep-set, bass-heavy dub aesthetics. ‘Blood’ and ‘Riddim Again’ are energised, dancefloor wrecking standouts, with the expansive sound design and jittery percussion on ‘Estacion’ and The House of Black Lanterns’ remix of ‘Flocon’ representing the more experimental end of the spectrum. An essential EP right at the forefront of innovative D&B.
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S ADAM PRESCOTT ‘MEETS CHARLIE P’ (Reggae Roast) ___
On this release, Reggae Roast’s own Adam Prescott teams up with Charlie P for some top-class reggae skankers. Lazy Man wins out due to Prescott’s excellent dubstep version of the seminal ‘My Conversation’ riddim, with Iration Steppas taking on remix duties with a jump-up steppers rework. On the flip, Charlie P brings a haunting vocal to the deep, heavy ‘Stand Firm’, while Tradesman’s remix flips it into a dancehall workout. Good stuff that will nice up any dance.
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JUS NOW ‘BARE WINE’ / ‘VODOU’ (Gutterfunk) ___
After the runaway of success of ‘Tun Up’, Bristolian-Trinidadians Jus Now return with their second outing on DJ Die’s label. ‘Bare Wine’, featuring Swappi, is a deadly ragga-soca workout, that punches hard with pure bashy slackness that absolutely kills it on the floor! Meanwhile, ‘Vodou’ is a much murkier affair, incorporating dubstepesque bass and heavy tribal drums that lead the listener into a rhythmical trance. Really exciting stuff.
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JONWAYNE ‘RAP ALBUM ONE’ (Stones Throw) ___
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onwayne is the latest in chubby, ginger-bearded, slightly leftfield folks to rise in this rap shit and here, Stones Throw’s newest recruit drops his first album proper. Wayne is cerebral, reflective, with a delivery that borders on the lazy. ‘You Can Love Me When I’m Dead’ contains the finer lyrical moments, with skittish drum programming and myopic piano suiting his verbal gait; ‘Yung Grammar’ is haunting and spacious to match his lethargic flow, and ‘The Come Up’ has a brilliant candour, soul chops and jittering drums. Elsewhere, though, you can feel the aesthetic being pushed to the detriment of the music. ‘Reflection’ ends up in sleazy pop drabness; ‘Zeroh’s Song’ is just that; his mate Zeroh sangin’ on a starry beat. Not as strong as his mixtapes, though great in parts, this is a young artist still finding his correct place in public prominence.
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B’TOL
VIVEK ‘SYSTM003’ (System Music) ___
VIVEK’s System imprint continues to carry the torch for vibration-heavy dubstep with four weighty cuts of deep-space bass engineering. He pits the soundsystem-damaging might of his most sought after VIPs (‘Asteroids’ and ‘Soundman’) against the deeply meditative atmospherics of ‘Mantra’ and the gradually expanding cosmic melodies of techno-influenced saga ‘Show Me’. Pure sub-frequency immersion of the highest calibre.
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G A M E S #17
WORDS: C u t l i n e
DESTINY BUNGIE/ACTIVISION (PS3, PS4, X360) OUT SPRING 2014 ___
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ith the launch of the next generation of consoles a mere heartbeat away, avid button pushers are asking themselves what the future of gaming looks like. It seems Halo developers Bungie might be among the first to give a glimpse into what we can expect, at least in 2014. Billed as a “shared world shooter”, Destiny will be a first-person blast-em-up combined with MMO [Massively Multiplayer Online] elements. Essentially, you, your friends and millions of other players across the globe will inhabit the same gaming space. According to the developers, how much you choose to interact with those other players will be up to you.
It’s an intriguing prospect and, from the videos and details released online, it certainly seems Bungie has put a lot of effort into getting that side of things right. But, what about the game itself? Fans of Halo will not be disappointed. Visually, Destiny looks impeccable, utilising plenty of the new tricks that next-gen consoles enable, with beautiful environments and eye-watering graphics. Gameplay-wise, it looks like Halo on steroids with a luscious array of additional details grafted on to the best bits of Bungie’s most beloved series. The only real downside is that we have to wait until next year to play it!
ASSASSIN’S CREED IV: BLACK FLAG UBISOFT (PS3, X360, PC, PS4, WIIU, XO) OUT NOW
BATMAN: ARKHAM ORIGINS WARNER BROS (PC, PS3, PSV, X360, WIIU, IOS) OUT NOW
BATTLEFIELD 4 EA (PC, PS3, X360, XO) OUT NOW
The gleaming jewel in Ubisoft’s crown returns with a new protagonist and one simple aim: to plunder the Seven Seas relentlessly in search of fame and fortune. While this isn’t a perfect addition to the Assassin’s Creed series, it certainly merits more applause than its immediate predecessor and it undoubtedly takes the ‘open world’ aspect of AC to new heights. At its most fun, Black Flag sees you cutting through open water, fighting your way through almighty battles at sea and hunting down lost treasures from across the globe. Fans of the Assassin’s Creed series will lap this up as an accomplished and visually beautiful addition to Ubisoft’s legacy.
Recycling is good for the environment, but not always the best move in the world of entertainment. While Arkham Origins is supposedly a prequel to Arkham Asylum and Arkham City, it feels much more like a continuation of those games that has somehow slipped back in time, keeping all the moves, gadgets, ideas and large parts of the map. That said, we warmed to Arkham Origins greatly and going up against eight of the deadliest super villains in town is undoubtedly a lot of fun. If you liked the previous two Batman games you should probably give this a spin.
We’ll say it now, so there’s no confusion. Battlefield 4’s single-player mode is basically pointless. Yep, just over six hours of clunky narrative, annoying over-Americanised storyline and essentially wasteful gameplay. But forget that, jump into a 64-person online multiplayer battle and get that full Battlefield experience! Here’s where you get your teeth into the meat and two veg of this game. Immense and chaotic warfare that will leave you gasping for breath and crying into your incredibly sore hands as you wheel up for yet another round at 3am on a school night.
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G A M E S
TOM CLANCY’S THE DIVISION UBISOFT (PS4, XO) OUT SPRING 2014 ___
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ext to enter the paranoid world of Tom Clancy is The Division, an online action RPG. As with Destiny and games such as Watch Dogs, there’s a heavy element of online interaction with other players, as well as adding players using mobile devices such as an iPad into the mix. This kind of interaction and multiple-device integration seems to be key to the next-gen experience and, from the gameplay demos of The Division we’ve seen, it looks like an exciting addition to gaming.
RYSE: SON OF ROME CRYTEK (XBOX ONE) OUT NOW
Story-wise, you’re looking at a postapocalyptic dystopian future where a large chunk of the world’s population has been killed off by a nasty virus. Not exactly ground-breaking, but where The Division sets itself apart is in its incredible graphics, driven by Ubisoft’s new Snowdrop engine and plenty of fresh gameplay ideas. Want to build a character that runs in guns blazing? No problem. Want to adopt a stealthy approach, covering other online players as they battle their way through post-apocalyptic New York? Fill your boots. Want to pilot a drone and jump into someone else’s game on your mobile device while you’re on your way to work and give them a helping hand marking enemies and dropping building busting airstrikes? The Division’s got you covered. All in all 2014 looks set to be a great year for gaming, in large part thanks to games like this.
If you want to immerse yourself in incredible historical battles right from the day of Xbox One’s launch then Ryse: Son of Rome is definitely the game you need to get your hands on. Developed by Crytek (of Crysis fame), Ryse sees you play as Marius Titus on a heroic quest to avenge the death of his family and preserve the honour of Rome, at all costs. Yes, it does sound a bit like the film Gladiator... After seeing the trailers, though, we can forgive that, as this genuinely looks like a game of epic proportions. And, after all, there’s no place like Rome. TRAPMAGAZINE.CO.UK
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B A S S P O I N T S #17
NUMBERS 10 LONDON & GLASGOW
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ne of the most important record labels of this Millennium celebrates its tenth birthday in December. Trailblazing imprint Numbers will be throwing two special anniversary shows in London and Glasgow in December, following a party across the Atlantic in NYC with DJ Deeon and Anthony ‘Shake’ Shakir. Numbers posterboy and powerhouse Jackmaster is joined by label mates Spencer and Redinho, plus fellow Glaswegians Hudson Mohawke and Optimo and some as yet unannounced special guests, for what you know will be two unforgettable parties on Friday 7 and Saturday 13 December. Happening at Great Suffolk Street Warehouse in SE1, anyone that attended Numbers’ birthday bash last year will know what to expect. We will see you at the London show. ___ NMBRS.NET
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B A S S P O I N T S 12 OF THE REST...
RINSE XMAS PARTY FABRIC, LONDON
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lmost as much of a Christmas tradition as turkey and family arguments, Rinse FM’s annual Boxing Day knees-up at London’s fabric can always be relied upon to bring some bass to your festive period. Taking advantage of the fact that almost the entire Rinse roster is in town this time of year, the line-up of acts playing at fabric on 26 December draws from every corner of the station’s musical manifest. Oneman, Zinc, Fonti & Bushkin, Mark Radford, Royal T, The Heatwave, Youngsta... the list of performers on the night goes on and on. If you can’t make it down, the full show will be broadcast live online and on 106.8FM throughout the evening. ___ RINSE.FM
#DRB THEKLA, BRISTOL
FRIDAY 6 DECEMBER THE BLAST @MOTION, BRISTOL RUDIMENTAL (DJ SET), SCRUFIZZER, MICKEY PEARCE, CHIMPO, PREDITAH + MORE. SATURDAY 7 DECEMBER HIPSTERS DON’T DANCE @ SHACKLEWELL ARMS, LONDON POIRIER, SEROCEE, MURLO, ILLANJA + MORE. CANAL MILLS PRESENTS @CANAL MILLS, LEEDS DUSKY, BEN PEARCE, REDLIGHT, SHADOW CHILD. SATURDAY 14 DECEMBER HEIDI PRESENTS: THE JACKATHON @WAREHOUSE PROJECT, MANCHESTER HEIDI, KERRI CHANDLER, SKREAM, JACKMASTER, DUSKY, HUXLEY, HOT SINCE 82 + MORE. SATURDAY 14TH DECEMBER HOSPITALITY @CONCORDE 2, BRIGHTON HIGH CONTRAST, HAZARD, FRED V & GRAFIX, ETHERWOOD + MORE. FRIDAY 20 DECEMBER 51’27 X JITTABUG @THEKLA, BRISTOL DAWN DAY NIGHT, SAM BINGA + MORE. RODIGANS RAMJAM @FIRE, LONDON DAVID RODIGAN, SHY FX FT. LIAM BAILEY, CONGO NATTY, STYLO G, MALA, D:BRIDGE + MORE. DEVIATION @XOYO, LONDON BENJI B + TODDLA T.
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ere at Trap, we love bashment - and we love our original home city of Bristol. You can, therefore, guess how we feel about DRB, which has rapidly risen to become the city’s biggest and best regular bashment party. Every instalment of Young Lion and Fireman Sam’s dance has been packed out with good vibes and party people. In February #DRB takes the next step, re-locating to Bristol’s legendary Thekla for their biggest and bashiest rave yet. Keep an eye on the #DRB facebook for more info. ___ FACEBOOK.COM/DRBMUSIC
SATURDAY 21 DECEMBER SURESKANK @ EXCHANGE, BRISTOL SUPER SPECIAL SECRET GUESTS. WEDNESDAY 1 JANUARY 2014 MONO_CULT NEW YEARS DAY @CANAL MILLS, LEEDS BREACH, MIDLAND, PEARSON SOUND, MANO LE TOUGH + MORE. FRIDAY 17 JANUARY DIGITAL SOUNDBOY @XOYO, LONDON SHY FX, B.TRAITS, DISMANTLE, MS DYNAMITE, BREAKAGE + MORE. SATURDAY 18 JANUARY MUTINY @MOTION, BRISTOL ED RUSH, CALYX & TEEBEE, ICICLE, LTJ BUKEM, BREAKAGE + MORE.
B A S S P O I N T S
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HETHER IT’S YOUR FAVOURITE NIGHT OF THE YEAR, OR THE ONE YOU DREAD ORGANISING YOURSELF, BETTER GET PLANNING FOR NEW YEARS EVE (AND DAY!) SHARPISH. WITH SO MUCH TO CHOOSE FROM, SELECTING THE RIGHT PARTY TO WELCOME IN THE NEW YEAR IS NEVER EASY. LUCKILY FOR YOU, WE’VE DONE THE HARD WORK FOR YOU, AND HERE YOU’LL FIND OUR PICK OF SOME OF THE BEST PARTIES HAPPENING ACROSS THE UK ON THE FINAL NIGHT OF THE YEAR. SO GET A MOVE ON AND GET YOUR TICKETS FOR YOUR PARTY OF CHOICE. OTHERWISE, DON’T BLAME US WHEN YOU END UP WATCHING BBC1 WITH YOUR MUM...
CRITICAL SOUND
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fter another year leading right from the front, Critical Music returns for another New Year’s bash that promises to showcase everything that’s good about drum & bass in 2013. With a rare headline performance from Calibre, plus a jungle set from daddy Randall, the wow factor is certainly strong for this. And with dBridge joing label boss Kasra and Critical stalwarts Foreign Concept, Ivy Lab and Emporer on the line-up, if you like your D&B, this is the only spot for you this NYE.
CRITICAL SOUND SECRET EAST LONDON WAREHOUSE TICKETS: £25 CRITICALMUSIC.COM LINE-UP INCLUDES: CALIBRE, RANDALL, DBRIDGE, KASRA IVY LAB, SP:MC
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IN:MOTION NYE / NYD
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n:Motion bring another stunning series of events to a close on NYE and NYD with two of the best parties you’ll find anywhere outside London.
IN:MOTION MOTION, BRISTOL TICKETS: £25.00 (NYE) / £15 (NYD) BRISTOLINMOTION.COM NYE LINE-UP INCLUDES: BONDAX, MELE & SLICK DON, T.WILLIAMS, JUS NOW, HYPE, ED RUSH NYD LINE-UP INCLUDES: SETH TROXLER, THE MARTINEZ BROTHERS, MARTIN BUTTRICH, SECRET SUNDAZE
On NYE, both warehouses of the huge Bristol venue will be opened for a massive rave featuring loads of Trap’s favourite DJs and producers. Response and Gutterfunk invite Bondax, T.Williams, Zed Bias, Jus Now and this issue’s cover-star Melé to bring the bass to the main room, while West Country institution The Blast promise an awesome selection of D&B’s biggest and brightest in the second warehouse. Ed Rush, Break, Skeptical and Hype are just some of the acts lined up. Meanwhile, NYD will show Motion’s other side, eschewing bass-music superstars for the cream of house and techno. Seth Troxler headlines like only he can, joined by The Martinez Brothers and the Secretsundaze crew, among others. Whatever your tastes, In:Motion have got you sorted this New Year’s.
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DOLLOP TROXY, LONDON TICKETS: £35 DOLLOPDOLLOP.COM LINE-UP INCLUDES: JOY ORBISON, LOEFAH, JACKMASTER ONEMAN, PAUL WOOLFORD
DOLLOP
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asily one of the strongest line-ups of DJs playing anywhere this NYE, Dollop’s bash at Troxy in East London looks essential. 2013’s stand-out producer Paul Woolford joins a triple-A list of DJ talent in Jackmaster, Loefah, Oneman and Joy Orbison. What a way to start your year...
THE DOCTOR’S ORDERS
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ondon hip-hop powerhouse The Doctor’s Orders present a massive line-up this NYE, in an intimate 450-capacity venue with wicked sound. The Nextman top the bill on four decks, backed by Foreign Beggars’ DJ Nonames, Mr Thing, Spin Doctor and more. Tickets are just £15 and the party rolls on ‘til 5am.
THE DOCTOR’S ORDERS DUKES, LONDON TICKETS: £15 THEDOCTORSORDERS.COM LINE-UP INCLUDES: THE NEXTMEN, DJ NONAMES, MR THING, SPIN DOCTOR, CHRIS P CUTS
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LONDON WAREHOUSE EVENTS NYE & NYD
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fter three years of selling out shows across the capital, London Warehouse Events flex their muscles this festive period with two enormous parties.
LONDON WAREHOUSE EVENTS BUILDING 6 / TOBACCO DOCK, LONDON TICKETS: £45 (NYE) / £35 (NYD) LONDONWAREHOUSEEVENTS.CO.UK NYE LINE-UP INCLUDES: T.E.E.D., BREACH, T.WILLIAMS BREAKAGE, MONKI, GORGON CITY NYD LINE-UP INCLUDES: SETH TROXLER, MACEO PLEX, HEIDI, ANJA SCHNEIDER
New Years Eve will see LWE link up with our very good friends at Urban Nerds to take over Building 6 at the O2 in Greenwich. TEED headlines the main room, sitting on top of a bass-packed line-up that includes Breach, T.Williams, Bondax, Javeon, Gorgon City and Kry Wolf. Meanwhile, in the second room, Nerds invite Breakage, Dismantle, Foundation and Monki to the party. The next day, over at the Tobacco Dock in E1, LWE link with Desolat to keep things going with some of house and techno’s biggest names. Seth Troxler and Maceo Plex join Martin Buttrich, tINI and Yaya, with Anja Schneider and Heidi completing things. Two unmissable parties, whatever your musical preference.
TRAPMAGAZINE.CO.UK 87
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WIDE EYES
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his autumn has seen Bristol’s Wide Eyes rise up to become one of the city’s most essential regular new promotions, hosting packed-out weekly parties at venues across the city with an emphasis on only the freshest new sounds. On NYE, Wide Eyes presents its first-ever end-ofyear bash at the combined spaces of Lakota and the adjacent Coroners Court. Huxley, Maribou State, XXY and Route 94 top the bill for what will be Wide Eyes biggest party yet, in one of Bristol’s most legendary rave venues.
WIDE EYES LAKOTA & CORONERS COURT, BRISTOL TICKETS: £7-23 FACEBOOK.COM/WIDEEYESEVENTS LINE-UP INCLUDES: HUXLEY, ROUTE 94, MARIBOU STATE, XXXY, PEDESTRIAN
THE NEW YEARS EVE CLASH
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ringing together some of the UK’s leading promoters under one London roof, The NYE Clash presents a truly unique party to close down 2013 in style. Offering everything from bashment and garage, to house, hip-hop and grime, Birmingham’s Seedy Sonics, Machester’s Murkage and Bristol’s Shapes and Apex are just some of the stellar names involved for this 2,000-capacity, three-room rave at London’s Renaissance Rooms.
THE NEW YEARS EVE CLASH RENAISSANCE ROOMS, LONDON TICKETS: £10 - 20 FACEBOOK.COM/RUNNINGWILDLONDON LINE-UP INCLUDES: SEEDY SONICS, RUNNING WILD, APEX, MURKAGE, SHAPES
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DETONATE PRESENTS DETOUR
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idlands raving institution Detonate have been firing on all cylinders this Autumn and end 2013 in Sheffield with the sort of party only they could pull off.
DETONATE PRESENTS DETOUR O2 ACADEMY, SHEFFIELD TICKETS: £25 DETONATEEVENTSS.COM NYE LINE-UP INCLUDES: DISCLOSURE, RODIGAN, DJ EZ, HUXLEY, HANNAH WANTS, OM UNIT, PHAELEH, SPECTRASOUL, KENNY KEN, TRANSIT MAFIA
Despite almost 15 years in the game, Detonate always keep it fresh and upfront with their line-ups, without ever forgetting their roots, as the roster assembled to shake-down Sheffield’s O2 this NYE proves. A Disclosure DJ set heads the bill, with the truly legendary DJ EZ bringing his unique UKG showmanship for the midnight set and the one and only David Rodigan counting things down over the hour before. Backed by house heroes Huxley and Hannah Wants, with Spectrasoul, Om Unit, Phaeleh and jungle legend Kenny Ken bringing further bassweight, even if you don’t live in Sheffield, this looks like one unmissable NYE party.
TRAPMAGAZINE.CO.UK 89
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SPring SeaSOn 2014
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