Starkey Interview

Check my interview with Philadelphian grime-bot Starkey on the excellent Media Contender website here

Big up PJ, Jonas EPM, Eric and Danny!

Heads, Shoulders, Knees & Toes - New dance stylee

The new craze?

Chargin up the Fiddy pon the tip!

Rough showing his bits

I'm going down to Urban Angel's new gallery opening tomorrow evening...
Rough, Inkie, Holly Thoburn, Case and others all showing new works. For those that care, Rough did the artwork on our last single LD's Green Ranger.


 

Markle on Sub FM - 1st Dec 08 Show

Me, Cotti & Slickman @ The Big Dirty 2

Markle – Sub FM – 1st Dec 08

http://www.subfm.com/archive/Markle01Dec08SubFM.mp3

Minnie Ripperton – This Love I Have (Epic)
Zapp – Computer Love (Warners)
Dr Dre – Keep The Heads Ringing (Priority)
Onra – Comet (All City Records)
Busy Signal – Unknown Number (VP)
Jah Lion – Columbian Collie (Black Art)
Phase One Allstars – Daily News Version (Phase One)
Unknown - War07 (Forthcoming White)
Unknown – In Luv (White)
LV ft Errol Bellot – Don’t Judge (Forthcoming 2nd Drops)
Quest – Stand (Deep Medi Musik)
Luke Envoy – So (Forthcoming Tempa)
JKenzo - Conqueror (Forthcoming 2nd Drop)
Seven – Siren (Forthcoming Tempa)
12th Planet – C-Sick (Forthcoming £10 Bag)
Pinch - Joyride (Tectonic)
Kontext – Plumes – Ramadanman Remix (Immerse)
2562 – Embrace (Forthcoming 3024)
Migrant – Duende (Forthcoming 2nd Drop)
Desto – Cold VIP (Unreleased)
Geoim & Earlybird – Netweight (Forthcoming Berkane Sol)
Likhan – Redlight (Forthcoming Se7en)
Starkey – Gutter Music (Planet Mu)
Mark Omen – Show Me (Unreleased)
Joker & Rustie – Play Doe (Kapsize)
The Body Snatchers – I Like What I See – Joker Remix (Forthcoming Passenger)
Augustus Pablo – My Guiding Red (Impact)

Fly Lo - Parisien Goldfish - Video

The new Fly Lo video is frickin funny. I can't even remember how the tune goes!!! (make sure not kids about tho, too many questions may be asked)

Watch it here
or Here

Egadz works the MPC

Lovin this MPC art. The tune really builds, and the end is off the chain! Sounds like DJ Shadow with a melodic overload....the track is called "Music Made With Buttons" from San Fran producer Egadz.



...his MySpace page:
http://www.myspace.com/djegadz

New Wiley Vid!

One shot bizness...

Skream!

Since Burial’s Mercury Prize nomination and identity exposure, and the chart threat of Benga & Coki’s ubiquitous Night, it seems that dubstep is now poised on the fringes of the mainstream. And with increased popularity comes more fans, and a glut of imitators and predators alike. Yet Skream, one of the original pioneers, remains firmly at the top of the game and keeping it very real. The 22 year-old Croydonite has been producing for a staggering eight years already and is now living the dream. Albeit, half drunk and out of a bag; because with success comes demand, and now he is entertaining crowds 3-4 nights a week and on nearly every continent in the world. “I go away and party hard all weekend. So when I get home, by the time I get my head together, it’s time to go again,” muses Skream. “I think I need to teach myself to take it easier.” Plenty of time to for the DJ, Producer, radio host and Disfigured Dubz label owner to rest when he’s old, I for one, hope.

We meet over a plate of lamb shish kebab and a glass of gassy continental lager before the launch party of his new mix compilation Watch The Ride. This would rate as one of the more sensible scenarios I’ve been in with the 6-foot plus production maverick. There has been many a blurry, blazed out night in the bowels of Plastic People, skankin furiously to his distinct brand of highly pressurized dubstep music. And then there was the Big Chill 2007, which will go down on my list of classic nights, if not Ollie’s “I had to be carried to the decks. That’s was your fault and Uncle Nephews – Wray & Nephews. That got very messy.“ Luckily, his partying hasn’t been affecting his music. A prolific and special talent, he has that extra ingredient, first brought to mass attention with his classic Midnight Request Line in 2005, and now it seems everyone wants a piece of him. “I’m Diplo’s favourite DJ right now, apparently. I played in Nottingham and he was there. I was sitting in Loefah’s house and Belinda phoned and said can you tell Skream that he’s Diplo’s favourite DJ in the world at the moment.” I could think of worse fans.

For the Harmless Watch The Ride compilation, Skream pulled together a 28-track mix of blistering, sub atomic bass-weight. Featuring a selfless number of his own beats (only seven in total), the mix takes us through a bunch of fresher than vacuum packed producers, the likes of Kulture, Seven, Kutz, Noah D, and Breakage staring alongside the usual dubstep brethren Benga, Rusko and Mala. “Watch The Ride is based around what I’m playing at the moment, says Skream. “It’s just tracks that are in my box when I’m playing in clubs right now.”

The Skream tracks that do feature reflect the producer’s current mindset. A bursting DJ diary with bigger and more diverse crowds to please have catalysed a caustic rawness to his sound roaring out of tracks like Fick, Simple City, Filth and Meta-Lick. This unfettered, malignant energy has developed over the past year or so with the need to deliver the next biggest and heaviest drop. A charge Skream is not afraid to admit, “Of course, Fick is a festival tear out tune. Different tunes sound filth in clubs, I don’t know why. They just do,” says Skream. “I ain’t being funny, but people can call themselves whatever they like and play a deep set all night. But guaranteed, those people would rather play a DJ set and see the whole club go fucking mental.”

If you you've yet to see the man DJ, or indeed play with his super group Magnetic Man (alongside Benga and Artwork), the dexterity and ferocity of his sound is primal and powerful. However if you haven’t worry not, you can neatly capture Skream’s musical development through his Skreamizm series on Tempa, now up to Skreamizm 5, the latest track listing is a holistic blend of peak time grot and subbed-out rollers - Rimz, One For The Heads Who Remember, If You Know, plus the tracks mentioned on Watch The Ride (excluding Meta Lick). But it’s been two years since his debut long player, so why no album follow up? “The Skreamizm always turn out better, “Skream insists. “They’re more up front and what’s happening now. The point of doing them is so I can sit down and write an album. I’ve got three whole albums worth indoors, but you don’t want to use old tunes for an album, you wanna sit there and write a whole new album.”

Dubstep is quite unique in its all encompassing, democratic sound, never afraid to welcome the influences of sister genres – techno, grime, hip hop, electro and soul – which have all helped hybridise the musical palette. And because of this some people suggest the dubstep genre is fragmenting into sub categories, which is a topic Skream is particular vocal about, “It’s not us who’s doing it, its not the people making the music doing it. It’s the people who are writing about dubstep that are doing it,” he fumes. “I’m getting the hump now.” And understandable so, a frustrating aspect of any music scene is the constant criticism and discussion that goes with it. And the dubstep scene has been admirably clinging onto its unified image of one sound, one scene.

Thankfully, this doesn’t stop him pushing things forward in his own music. “I’ve done some work with Jamie T. I engineered one of his tracks. He wanted a dancefloor engineer.” Admits Skream, adding weight to a new trend of dubstep producers working outside the genre. But there isn’t an obvious link to the indie singer-songwriter Jamie T, “He heard my drum programming on Check It, and really liked it, and then found out I bootlegged his track, Salvador. And I got a phone call saying would you like to work with me. And I’d been bigging him up everywhere, so I was like “fuck yeah,” recounts Skream. “You gotta think about yourself outside of when dubstep ends, and doing stuff like that is gonna keep me going.”

And it doesn’t stop there, having recently completed an exclusive 30 minute track for foot and sportswear giant, Nike, no doubt for one of their running soundtracks, he sees his music being used on a much bigger canvas alongside the usual glut of remixes. “I’d love to get into films and stuff like that. And producing for other people, like totally different, odd music, just to test yourself. Mika, he’d be a challenge,” quips Skream. “I got asked to remix Duffy, no fucking way mate! It was before her album came out. You couldn’t have asked for a harder task.”


Following the likes of Mala and Kode9, who are key figures in championing new artists and talent through their respective labels, Skream created Disfigured Dubz, to promote the abundance of talent he was hearing. “Kulture is out next, then two tracks from Late. Then a new girl I’ve signed called Keito, who’s fire mate! Amazing. Her production is better than me. I wish I had the tune when I did the Watch The Ride compilation. It’s going on Disfigured Dubz 5,” Skream informs. “I didn’t start the label to put out tracks by myself. I did it to push new talent. And I think I’ve done alright.” Indeed he has, no doubt an important figure also in landing Kulture the enviable gig at legendary dubstep shindig, DMZ in September, putting him on one of the finest, if not most important stages in the scene.

Spending time with the man behind Skream aka Ollie Jones, a pretty typical cheeky, out going south London lad with a questionable taste in loud, multi coloured jackets, you get the sense his life is a bit of a blur, a constant merry go round of music, DJing and hangovers. Which he seems completely comfortable and rather happy with. Although you feel if music wasn’t around, he’d be putting his abundant energies into less auspicious activity, which he readily admits himself, and he’s genuinely thankful to music for, as he puts it, “opening my head up and keeping me out of trouble.” If you add in the almost brotherly bond with fellow dubstep pioneer, Benga, there is little doubt they have kept each other on the straight and narrow. “It’s like friendly competition innit. In fact I don’t look at him as competition at all,” Skream says with a smirk, “it just interesting to hear what someone you’ve grown up with and being doing the same thing as comes up with. It’s cool, but sometimes it’s horrible when you do a tune and you think it sounds like Benga. We sound like each other. We’re good mates. But we can’t work together. The only thing I can say is “nice mixdown”, that’s it.”

So, from boy wonder to super producer, Skream is developing into a serious talent with some serious goals - Rick Rubin is watching his back i’m sure. And when your motivation is as simple as “My Life. The future. I wanna be remembered.” You know this guy has the focus, imagination and sheer determination to go the distance.

Skream Myspace

The Big Dirty Tooooooooooo!

Markle on Sub FM 20th Oct 08

Sub FM 20th Oct 08

Download Sub FM Show

Q-Tip ft D’Angelo – I Believe (Forthcoming Universal Motown)
Exile ft Jonas – Do Not Touch (Fat Beats)
Paul White – We Want It All (One Handed Music)
Karl Hinds – Don Gramma (Stonegroove)
Morgan Heritage ft Bounty Killer – Guns In The Ghetto (Soul Jazz)
LV ft Errol Bellot – Don’t Judge (Unreleased)
Peveralist – Gather (Forthcoming Punch Drunk)
Heny G – Soul is Born Through Pain (Forthcoming 3.5)
Unknown – Alicia (White)
Skream – One For The Heads Who Remember (Forthcoming Tempa)
Jtreole – The Loot (Sully Remix) (Unreleased)
Nasty Habits – 4 Da Cause (Reinforced)
Wiley – Sidewinder (White)
Gemmy – BT Tower Mast (Unreleased)
Goth Trad – F U Clown (Deep Medi)
Distance – Victim Support (Forthcoming Chestplate)
Virus Syndicate ft David Lewis – For The Music (Forthcoming Contagious)
Benny Page & Zero G – Pan Pipes (Unreleased)
Gemmy – Double Yellow (Unreleased)
Cyrus vs Distance – Violate (Forthcoming Random Trio)
Unknown – No Good (white)
LV ft Errol Bellot (Unreleased)
Kromestar – Galaktic War (Forthcoming Dubstars)
Jus Wan – Lost In Time (Unreleased)
Shortstuff – Trigger (Unreleased)

October Top Ten

(One needs a sweep over in the winter time - that's me on the left btw)


In no particular order:

Skream – One For The Heads Who Remember (Forthcoming Tempa)
Alys Blaze & Mr Lager – Tell Me (Forthcoming Subfreq)
Distance – Victim Support (Forthcoming Chestplate)
LD – Green Ranger (Forthcoming 2nd Drop)
LV ft Errol Bellot – Don’t Judge (Unreleased)
Ramadanman – Humber (Forthcoming Soul Jazz)
Gemmy – Supligen (Unreleased)
MBP - Mr Manchurian (Unreleased)
RSD – Forward Youth (Forthcoming Tectonic)
Benny Page & Zero G – Trigger Finger (Unreleased)

Extra dubstep-free track:
Johnny Osbourne - Ice Cream Love (Greensleeves)

Run Dem Crew Season 1 Finale

Every Tuesday night for the past 8 weeks I have met with a rag tag pack of n'er do wells and miscreants to explore the streets, parks, bridges and canals of London under the guise of a running club. Yes, Run Dem Crew, the brain child of the ever charismatic Charlie Dark, is my team, and you can check out the little video of what we do and why we do it from the link below...

Run Dem Crew Video

Run Dem Crew season 2 should be back in November. In the meantime, keep on running...

Red Bull highlight!!!

The one the only JAMIE WOON

Cotti Interview

My first feature on the excellent Media Contender website is an interview with south London dappa dan, Cotti. Check the link for the full interview and an exclusive free mp3 download of his seminal I Don't Give a Dub, only previuosly available on vinyl.


Cotti Interview on Media Contender

Big up to Eric and Danny!

Markle on Sub FM - 08 Sept 08

NIke Human Race....shut ya lip!!!

http://www.subfm.com/archive/
(search for: Markle – Sub FM – 08 Sept 08)

Sergio Mendes & Brasil 66 – For What It’s Worth (A&M)
Fosters Sylvers – Misdemeanour (MGM)
Mweslee – Chandel 500 (All City Records)
Madlib ft Georgia Anne Muldrow – The Plan (Forthcoming BBE)
Akira Kiteshi – No Glitch (Forthcoming Black Acre)
A Tribe Called Quest – God Lives Through (Jive)
Ras Buggsy – 1 in 10 (Unreleased)
Cutty Ranks – We Di Man (Roof International)
Mungo’s Hi Fi ft Topcat – Herbalist (Scotch Bonnet)
Jah Screechy – Walk and Skank (Blacker Sounds)
Lava Unit – 8 Bar Banger (Forthcoming Aftershock)
2 Banks of Four – Street Lullaby - Four Tet Remix (Sirkus)
Sub Swara – Albaster Dub (Low Motion)
Wagawaga – Huaulta (Forthcoming Immigrant)
Innerlign – Headed East (Forthcoming Airtight)
DLX – Matter of Facts – Breakage remix (Forthcoming Smog)
DJ G – Bees (LD Remix (Forthcoming Subway)
Kutz – Drumz of No Return (Unreleased)
JKenzo – Conqueror (Forthcoming 2nd Drop)
Twisted – Robots – JKenzo Remix (Unreleased)
Jus Wan – The Crossing (Forthcoming Tube)
Alys Blaze & Mr Lager – Tell Me (Forthcoming Sub Freq)
Mrk 1 – Get Out Clause (Forthcoming Earwax)
Caos – Dub Gutter (Unreleased)
DZ & Loetech – Issues (Forthcoming Aufect)
Babylon & Antiserum - California Style (Forthcoming Argon)
Kutz – Static (Unreleased)
Jack Sparrow – Together (Unreleased)
Quest – Forever (D1 Remix) (Forthcoming Dub Police)
Zeno – Stories of the Future (Unreleased)
Ninjaman – Test the Hi Power (Digital B)
Nitty Gritty – General Penitentiary (Victory)

Matty G Interview

Taking You Back To The Old Skool!!!

I remember hearing 50,000 Watts first the first time at London dubstep weekly, FWD, drawn by Loefah on an exclusive dubplate in early 2007. It literally tore the roof off and nearly blew the Plastic People sound system. Fast forward to the 2nd DMZ Birthday, (March 2007) bash at Mass, Brixton. A now legendary party, the vibes were electric, and nobody who was there could forget the five (if not more) reloads of both the original and Loefah remix of Matty’s now seminal tune. These moments have now passed into dubstep folklore. His follow up West Coast Rocks, confirmed not only his talent but also he ability to blend classic hip hop sensibilities with emphatic bass weight for truly devastating dancefloor material. Backed as ever by Nick Argon and the Argon record label, the Santa Cruz resident who prefers locking himself in a dark room creating beats instead of enjoying the climes of west coast America, is dropping his debut long player, Take You Back, and gets lyrical with Mark Gurney on his inspirations, placating his long-suffering girlfriend and playing Star Wars records on his Fisher Price record player.


I suppose the biggest/ most difficult question you can ask a musician is what function does music play in your life?

Haha, that is a big one. Music helps and hurts me both at the same time. I love it so much that it can distract me from my priorities. Music has been a positive influence in my life by giving me an outlet for my free time. I haven't had T.V. since I moved out of my parent's in '98, and music is much more constructive, and personal form of entertainment. It's also played a large part in me being self-confident. When you love something, whether it be a sport, art, anything, it makes you feel good to succeed at it. (But) It's also taken a lot of time away from my girlfriend and friends.


Do you have an earliest musical memory? A first vinyl, cassette, cd etc? A family member or moment that turned you onto the music?

Well, it isn't really musical, but my first memory of vinyl, was getting the old 45s at the grocery store, that came with a book of pictures to look at while it told you a story. I specifically remember Star Wars ones, and I had all of them. I'd sit and listen to them on my Fisher Price record player. An early musical memory is of my Dad. He is big on guitar - Bob Dylan, James Taylor and a bunch of classical stuff. He used to jerry rig a lamp post, and turn it into a mic stand, with these terrible mics, and make tapes while playing his guitar and singing. I was probably four or five at the time, and sang on some of the tapes with him. My first tape was Thriller, when I was five or six. I still have it.


What influences outside of music influence your music the most?

My environment. The city I'm in, or places I've been. I have really wanted to have a laptop when I’ve been on trips because I get so inspired. The trips I've made to London have been very inspiring as well. I often feel disconnected from what's going on over there, where the bulk of tunes are being played, so it's crazy to see what blows up a club!


You’re a trained musician playing the Baritone Sax, do you still play and does it find it’s way into your musical creations?

I haven't played the sax in awhile. I'd love to own a bari, but they cost $2-4000 dollars. I do own an antique tenor sax, but haven't played in years. Last time I did was when a friend came into town. We didn't have any money for beer, so I went downtown with the sax, and played for a half hour or so 'til I got enough dough. It's kinda like singing. The musical skills I developed being a part of school bands is invaluable though. Learning time signature, structure, tempo, scales, notes, and then getting to the point as a soloist, and hearing melodies in your head that automatically translate to your fingers...these have only made the computer process easier.


You wear your hip hop influences firmly on your sleeve, and your album, Take You Back, is perhaps the first dubstep album to overtly push this element. What sort feedback have you been getting on the album?

The people who have heard it have been positive about it. I know it might not be everyone's cup of tea, but they respect what I'm doing. I feel that the dubstep community is very open to new ideas, and respects individual's perspectives on the music. Without this sense of openness, I wouldn't be here. The album especially would not exist, because as I've gained moderate recognition, I have felt that I can do more of my own thing.


The hip hop, funk and the Roland 808 drum machine really slaps you in the face on your album, were you trying to make hip hop with shit loads of bass or was this the kinda thing that came out when you thought about making dubstep?

It's just the music I make. Before dubstep, I was making bass heavy beats at a variety of tempos. They had a hip-hopish beat, some used breaks, and some had reggae elements to them. Dubstep was the closest thing at the time to what I was making, so I made my tempo consistent, but utilized a lot of the same elements. I've always tried to stay true to myself and not make "dubstep" if that makes sense. As the genre is becoming more definable, there is a "dubstep" sound out there. But if people will continue to allow me to be part of the scene, I'd like to help expand the boundaries by creating the unknown, instead of trying to make something that has already been done.


The Bay area is notorious for its low-slung hip hop, especially the Hyphy sound and artists like E-40, Too Short and Keak Da Sneak. I can hear their bounce in your music. Were these kind of artist’s influential to you?

Yeah, to an extent. Gotta love too short, the man is classic, and he has mad funk. So does old E-40. I drive around a lot for work, so I'm sure it definitely sneaks itself into my subconscious while listening to the radio.


Or was it the more old skool T La Rock & Eric B style producers? As I can hear those bass, kick and snare breaks on the likes of Cold Break Ill, Last B-Boy and Cuttin & Scratchin?

Yeah, this is what I'm feeling more of though. I'm crazy for old Mantronix songs, old LL, Whodini, definitely Eric B and Rakim. Paid in Full is the dopest album; there isn't a single cuss word on there if I remember correctly, yet it's one of the hardest albums of all time. Dr. Dre though is definitely the bomb. If you think about the level of production he had in the early 90s when the radio shit was mad cheesy, then you gotta give him respect. NWA shit in junior high was crazy for me. Wu-Tang of course is a huge influence. It might not come out in my productions as far as the elements are concerned, but the Rza has a dirty style, and I try to keep my beats a little rugged.


Your skits are straight up hip hop album techniques to link tunes. Night Time Skit is particularly hilarious. Is that your girlfriend on there? She sounds hot. I wouldn’t be going to make a beat.

Haha! Yeah, that's my girl. She had to get on there for all the shit she's put up with. That skit is basically how I came up with the second drop for 50,000 Watts. I was working on it, went to bed, and then got a bassline in my mind that I needed to get out. I couldn't go to sleep. I woke her up when I got up, and needless to say she wasn't too happy. The idea for skits in general is to make the CD more of a listening experience though. It might not seem like it, but out there somewhere are dubstep fans who are not DJ’s. This album is for them.


Is Jazzy Ways a kind of homage to Snoop?

It was just an instrumental at first, and I'd been wanting to collaborate with Audio Angel forever. I thought she'd be dope on it, and when we linked up, she asked if she could re-work La Di Da Di by Slick Rick and Doug E. Fresh. I was totally down, 'cause it's a classic. She definitely worked her magic on it


Matty’s Theme sounds like blaxploitation sound track classic. Where was your head at when you made this?

It was originally an intro for Last B Boy, and I made it as a special tune for Dave Q to play at the DMZ two-year anniversary. I was pumped he was gonna play, so I busted out what I thought would be a sick intro for him (Matty's Theme), with some shout outs to Dave/ Brooklyn in between, and then Last B Boy. A year later, I thought it would be a dope intro for the album, and wanted to use Last B Boy by itself.

Rasta Dem Nah Run has some interesting instrumentation featured. Is that a bowed double bass that morphs into a more analogue bass line later on in the track?

Yeah, that tune has gone through a couple changes, but the cello in the beginning has always been a constant. I felt like I was going out on a limb with the pianos, but what the hell. I wanted to give Juakali's vocals more room to breath than the original instrumental allowed, and was also starting to incorporate more of the funk/soul into my style, i.e. the piano and clavichord.


The digital reggae sound really comes through on Don’t Wanna Be and 80’s Crush. Is this a conscious sound emulation or re-visioning of the music you love into a 2008 form?

I don't want to get in trouble, but it's mainly samples from tunes I grew up with. 80s Crush is built around a tune that I used to listen to in '95 all the time, and most of my songs have some roots in my musical past. Long before I was a producer, I was cataloguing songs that I'd love to rework. You put it perfectly, because I do see myself basically as updating the music I love to the current time.


You’ve worked with a number of vocalists including Juakali, Luv Fyah and Audio Angel. How did you find the process working with real vocals instead of samples?

It's a huge challenge. Each experience was different. The only recording I was present for was Jazzy Ways, so I was able to influence the process a bit. Luv Fyah's vocals were recorded at a friend’s house, on a beat of mine without me knowing. Juakali recorded his lyrics on the east coast, and sent them to me, so they were all unique projects. The hardest part is to make sure you do right by the vocalist. There's a responsibility to represent them well as an artist. When you work with someone you know, the tune isn't just yours anymore, you have to share it with the vocalist, and keep their creative contribution in mind, whereas with samples you can do whatever you want 'cause you think you'll never meet them.


Saddle up evokes a rather jaunty frontier man riding into the distance. Is there a story behind this track?

Haha. Yeah, well, often instead of saying, "let's go," I'll say, "saddle up". The tune had an unintended cowboy feel to it, so I called it Saddle Up as kind of an inside joke. The skit went with it as a light-hearted joke as well. It's one of those tunes that could give you a nostalgic feeling as you embark on a road trip or an adventure.


Do you have any favourite moments on Take You Back?

I love the whole thing, because there are so many stories behind all the elements, which makes it very personal. One favourite is hearing the voices, and beats of my friends on it. Ugene, who collaborated on Cold Break Ill, is a great friend and got me involved in electronic music to begin with. To be able to include him on the album means a lot to me. The same with my girlfriend, even though she hates the Night Time skit, haha. She has been very supportive over the years, and has played a big part as a source of inspiration. The vocalist collaborations are all special too. I saw Audio Angel MCing at the first drum and bass party I went to, and never thought we'd be working together. Juakali and I happened to be playing a show together, which led to my first collaborations with a vocalist. The Luv Fyah tune is crazy, 'cause my friend Dashiel recorded it over the Don't Wanna Be beat at his house. When I heard it, I had to build another beat around the acappella. As far as tunes, I love that the 808 bass is on there. That's probably the oldest song on the album going on 3 years now, and it's a nice way to finish it off...I feel I can get lost in that tune.


Are you planning on doing any DJ dates in support of the release?

Nothing specific right now. We're in the process of setting up an album release party sometime in September that will hopefully include all of the collaborating artists. A trip overseas might be in the works as well.


Matty G – Take You Back LP is out very soon on Argon Records. For more info check www.myspace.com/mattygbeatz and www.argonrecords.com

Dusk & Blackdown XLR8R Mix

Dusk & Blackdown have done a wicked mix for XLR8R Magazine and you can check it online here.

http://xlr8r.com/podcast/2008/08/dusk-blackdown

Keysound Radio '08 Tracklisting
1. Blackdown "Con/Fusion feat. Farrah" (Keysound Recordings)
2. Sully "Jackmans Recs" (unreleased)
3. Grievous Angel "What We Had" (unreleased)
4. Skream "Angry World" (unreleased)
5. Al-Haca "Kryptonite (TRG remix)" (unreleased)
6. 2nd II None "Waterfalls (Peverelist remix)" (Heavy Artilery)
7. JME "Go On My Own" (BBK)
8. Joker "Digidesign" (unreleased)
9. Dot Rotten "I'm a Professional" (GPP)
10. Starkey "Gutter Music" (unreleased)
11. Ghetto and Rudekid "Sing For Me" (unreleased)
12. Gemmy "Supligen" (unreleased)
13. Geeneus feat. Wiley, Riko, and Breeze "Knife & Gun" (unreleased)
14. Zomby "Aqafre5h" (unreleased)
15. Blackdown "Concrete Streets feat. Durrty Goodz (Keysound Recordings)
16. Wiley "If You're Going Out I'm Going Out Too" (Grime Wave)
17. D1 "Oingy Boingy" (unreleased)
18. Dusk "Focus" (Keysound Recordings)
19. Dusk + Blackdown "Kuri Pataka feat. Teji and Farrah" (Keysound Recordings)
20. Pangaea "Router" (Hessle Audio)
21. Zomby "Duality" (unreleased)
22. Guido "Orchestral Lab" (unreleased)

The Shit Box

I have just had a little feature posted on www.ctrlaltshift.co.uk about a fantastic contraption called the Shit Box. I took it to The Big Chill festival and got some feedback from a variety of characters!

My feature

Vox pops

Biggin up the Fiddy everytime! Zoop!

Enjoy!!

This show dedicated to the Big Chill crew (Not all present, but hey!)
L-R , me, Dan S, DB, Laura, Fran and Jan


And, not forgetting the Shit Box


Markle – SubFM – 11th Aug 08

http://www.subfm.com/archive/Markle11Aug08SubFM.mp3

Cinematic Orchestra ft Roots Manuva – All Things To All Men (Ninja Tune)
Hank Mobley – No Room For Squares (Blue Note)
Guilty Simpson – Back to the D – Harmonic 313 remix (Jazzy Sports)
Keith Murray – The Most Beautiful Thing In This World (Jive)
Clouds – Timekeeper – Ras G Remix (Forthcoming Ramp)
Frankie Paul – Tagar War (Ranking Joe)
Mungo’s Hi Fi ft Afrikan Simba – The Media (Forthcoming Scotch Bonnet)
LV ft Dandelion - CCTV (Hyperdub)
Digital Mystikz – I Wait (Soul Jazz)
Mrk 1 - ? (Forthcoming Earwax)
30HZ - Mutate – Pinch Remix (Forthcoming Lot49)
Jazmine Sullivan - ? Moody Boyz Remix (?)
Martyn – Natural Selection – Flying Lotus Remix (Forthcoming 3024)
Pangaea – You & I (Forthcoming Hessle Audio)
Ekelon – 7th Soul – Sully Remix (?)
Cotti ft Jammer & Mr Party – Dem Fi Know (Forthcmoing Argon)
Coki – Bloodthirst (Forthcoming SubFreq)
DZ - ? (Black Acre)
Ruf – Rudebwoy VIP (Kraken)
Thunderclaps – Judgement Day - Vista and Ill Bill Bachelor remix (Ejectorseat)
Black Pocket – U R Hot – Martyn Remix (Jazzy Sport)
Rhythm & Sound – No Partial (Basic Reply)
Mungo’s Hi Fi ft Brother Culture – Wickedness (Forthcoming Scotch Bonnet)

Quickpost this image to Myspace, Digg, Facebook, and others!to Myspace, Digg, Facebook, and others!

Playing here tonight. Drumz of the South at Plan B. Gonna be FIYA!!!

Dubstep, jungle, Dub, whatever the DJ's fancy...
10-3am
Plan B
418 Brixton Rd
London, SW9
£5
*unless you know me and holla before 5pm ;-}

Mid - August Top Ten

LD – Green Ranger (Forthcoming 2nd Drop)
Coki - Bloodthirst (Forthcoming Subfreq)
Clouds – Timekeeper – Ras G Remix (Forthcoming Ramp)
Martyn – Natural Selection – Fly Lo Remix (Forthcoming 3024)
J:Kenzo – Conqueror (Forthcoming 2nd Drop)
Mungo’s Hi Fi – Wickedness (Forthcoming Scotch Bonnet)
Migrant – Duende (Forthcoming 2nd Drop)
Jazmin Sullivan – Moody Boyz remix (?)
DJ Madd – Numbers - Matt U Remix (Forthcoming Boom Bap)
Matty G – Take Me Back LP (Forthcoming Argon)

Check my latest Sub FM show for some of the beats below.

Markle – Sub FM – 29th July 08

http://www.subfm.com/archive/Markle28Jul08SubFM.mp3

BB King – Friends (ABC)
Wale Oyejide – Slow Down (Fat Beats)
Domu – Gotta Set It (Archive)
Digi Onze – Petaco 86 (Novophonic)
Hieroglyphics – Powers That Be (Hiero Imperium)
Cold Crush Brothers – The Bronx (B-Boy Records)
King Kong – Mash It Up Already (Greensleeves)
Kalbata – Shooting Range (Soul Jazz)
Terror Danjah – Trojan (?)
Hextagon – El Mundo (Forthcoming ZAudio)
Innerlign – Headed East (Forthcoming Airtight)
DJ Madd – Numbers – Matt U Remix (Forthcoming Boom Bap)
Hijak – Nightmares (Tectonic)
Skream – Headbanger (Forthcoming Tectonic)
23hz & Numaestro – Zumo (Forthcoming 2nd Drop)
Cluekid – Weed Smokers (Forthcoming Bullfrog)
Count & Sinden – Stinging Nettle VIP (Domino)
Matty G – Matty’s Theme (Forthcoming Argon)
DJ G – Bunker (Unreleased)
Twisted – 300 Moves (Unreleased)
Revolt Op - Screw Dub (Forthcoming Mode)
Jasmine Sullivan – Moody Boyz Remix (?)
Shortstuff – Low Talk (?)
Brackles & Shortstuff – Broken Harp – Geiom Remix (Forthcoming Pollen)
Migrant - Duende (Forthcoming 2nd Drop)
Skream -Precression (Forthcoming Tectonic)
King Kong – Paro Them Paro - Shaka Beechwood Boxes Mix (Greensleeves)
Michigan & Smiley – Nice Up The Area (Studio One)

Markle on Sub FM - 15 July Show

This show was dedicated to The Big Dirty Crew: Seeds, Verity and Adamn Noise.

Seeds and Me


The Big Dirty reprobates: Reso, Ramadanman, (random arm man) & Dead-O (Clouds)


Post rave: the classic - socks over the hotel fire alarm....Ninja Smoking!


http://archive.subfm.com/Markle15Jul08SubFM.mp3

Markle – Sub FM – 15/07/08

The Detroit Experiment – Space Odyssey (Planet E)
Bullion – Get Familiar (One Handed Music)
T La Rock – It’s Yours (Partytime)
Skitz ft Rodney P, Skinny Man, Wildflower, Riddla & Prime Cuts - Twilight of the Gods (Source)
Rawcotiks – Hardcore Hip Hop – DJ Premier mix (Freeze)
N.E.R.D. – Everybody Nose (Star Tack)
Ragga Twins – Juggling (Shut Up and Dance)
Origin Unknown – Valley of the Shadows (Ram)
Alborosie – Sound Killa (Forward)
Matty G –Last B Boy (Forthcoming Argon)
Graphic ft Beans – I Am Metal (Forthcoming Offshore)
XI – Ronin (Unreleased)
Unitz – Morning Subs (Forthcoming Dub Police)
Migrant – No Name (Unreleased)
Relocate – Too Moody To Swing (Iberian)
Martyn & Marcus Intalex – After Seven (Forthcoming Revolv:er)
Tes la Rok - ? (Unreleased)
J:Kenzo – Conqueror (Forthcoming 2nd Drop)
Tes La Rok – Living Fire (Forthcoming Dub Police)
Dusk + Blackdown – Focus (Forthcoming Keysound)
Full Spectrum – Funky Monkey (Unreleased)
Matty G – Cuttin and Scratchin (Forthcoming Argon)
I Roy – Every Mouth Must Be Fed (Pressure Sounds)
Alborosie – Sound Killa Version (Forward)

Martyn Interview

If you’ve been following the creative path of dubstep over the past two years, you’ll know there has been some seismic cross pollination of musical genres which have all fed and bled into each other like an osmotic dub membrane. The Dutch born, USA dwelling Martyn, a 33-year-old producer and DJ, has been very much at the forefront of this exchange, helping redraw definite lines between the houses of techno, 2 step, jazz and dubstep. However, it was a stellar remix of TRG’s Broken Heart on Hessle Audio, championed by scene pioneer Kode9, which has helped propelled Martyn into the next dimension. Over the course of three internet conversations with plenty of food, ironing and sleeping stoppages, Mark Gurney managed to quiz the Dutch dynamo about his new single, forthcoming material on his 3024 label and working at 140bpms, but just don’t ask him about pigeon holes!

I’m always interested in how peoples’ early childhood influence their musical output in latter years. What are your earliest musical memories?
My dad used to be a soccer player, and as a mental warm up to the match every Sunday morning he played the records that he loved in a certain order. It was a mixture of different styles but I remember it ranged from Stevie Wonder to Kevin Coyne to Fairport Convention to Supertramp to John McLaughlin. I suppose it was sort of a weekly DJ-set in a 1970s style.

And do you find these types of music leaking into you music now, or is it strictly contemporary and modern styles?
It would be tough finding Fairport Convention influences in my music, but obviously the mixture of styles has had an influence. Mainly the soul and jazz he collected and played, and 80s new wave, more than the Irish Folk music.

And what was the moment you decided to buy your first bit of music making equipment?
I started DJ'ing long before actually taking up production; this was in the mid 90s. Although I had equipment for a while, I really started making music somewhere in 2004.

Did you feel there was a something missing? Or that you had sounds in your head that just had to come out?
Guess I started making music cos there was a sound I wanted to play in my DJ sets that wasn’t being released. So I decided to try and make it myself.

What was your very first tune called? And what kinda of vibe was it on?
Well the first track I was really happy with was called "Nxt 2 U" - a drum 'n bass track released on DJ Flight's Play:musik label.

Has your approach to making music changed over the years?
As far as approach - hmm I don't think it has changed, maybe though the more you make music and the more you release things, the more free I started to feel to do what I want to do regardless of style or sound.

So, you are more confident to experiment? Yes exactly.

You first made your mark in the world of dubstep with Broken/ Shadowcasting. A rich, thick blanket of synth and filtered percussion, which really sounded like nothing else at the time. And perhaps more surprisingly it came out on Marcus’s label. Although it does makes sense within the ethos of the label. How much feedback did you get on that first 12” from the musical community?
Quite a lot, Soul:r/Revolve:r has always had a good and widespread following. It found support in various genres, which was exactly what Marcus wanted to see happen with it.

Do you have any surprise fans yourself? People you didn't expect to be into your music?
My mum likes the downtempo stuff!

Even with this broad appeal, were you still keen to see your effect on the dusbtep “scene”? Was that an aim?
No it was never an aim, in fact I hardly knew about dubstep (apart from a few key figures) at the time I made the Revolve:r 12. Their sound inspired me a lot. But to "convert from dnb to dubstep" never came up in my mind.

You seem to have an aversion to pigeon holing your music into particular categories, which is understandable. What are your reasons?
Well I understand perfectly clear that in order to write about music or talk about music you may need words to describe styles and sounds. But I look at it from a musician’s perspective and try not to think in genres too much, as I want to be completely free making my music, and if I would start a track thinking, "This has to be a dancefloor dubstep track", I already limit myself so much.

Has the 140bpm helped open up a new vein of creativity for you?
Yes definitely, it’s almost a cliché but you just have more space to utilize at this speed. The 130-140 mark is interesting because you can make combinations between 4x4 themes as well as the halfstep pace. People like Mala and Kode9 are really good at finding these combinations.

What I love about your productions is the hidden pulse in the music, which is created I suppose through the sonic combination of the elements of percussion and pads in your music. Is this something you aim to do, or is simply a by-product of you building your tracks?
Well when making tracks I never start with the beats, for me it's all about the sounds, the themes (pads, stabs or percussion). This way the music already has a rhythmic structure even before the beats are laid down.
Then when I start on the beats, they just blend in with the rest of the music and it becomes one.

You beat structures are usually heavily syncopated, and complex yet all drive along nicely. Where are these riddims drawn from?
I don't really know to be honest, from everywhere! I use drum computers, old breaks, sample banks, percussion, my voice, anything that works in that particular tune.

I suppose this could be earlier influences coming through. The lush, machine jazz pads very reminiscent of Detroit techno are ever prevalent in your music. Tracks like Velvet, After Seven and Surburbia are all a great case in point. I assumed this is audio leakage form years of listening to techno etc?
Yes it is. Just collecting lots of samples from wherever you can find interesting sounds

Do you have a number of seminal records you go back to again and again for inspiration?
Too many, I have always collected music, as long as I can remember really. Lots of jazz, soul, funk, many many techno and house records, little bit of hiphop
lots of drum n bass obviously.

Do you have a ‘typical’ beat making routine?
Well when making tracks I never start with the beats, for me it's all about the sounds, the themes (pads, stabs or percussion). This way the music already has a rhythmic structure even before the beats are laid down. Then when I start on the beats, they just blend in with the rest of the music and it becomes one.

Your next release Natural Selection is more ‘Martyn Music’; rich texture sounds and a full aural palate. And you employ a rather foreboding vocal effect with Kid Drama (one half of Instra-Mental). How did the hook up happen?
I've known the Instra:Mental crew for quite a while, as we both had tracks out around the same time on Soul:r. We both love the robotic funk of 80s/90s electro like model500, Aux88 and Drexciya, so I did a tune and we decided to try a vocal in that style on top. So that’s how Natural Selection came about really.

And Kid Drama doesn't really sound like that, right?
Only when he has a cold!

Vancouver sees you on an altogether darker mode. A tribal, slouching riddim creeps in with menacing grating synths. Can you remember your mindset when you made this?
I remember that clearly yes, it would be a bit much to explain the whole story, most tunes have a story – but I'd rather let the listener make his own - I think you did understand the tune right though.

Where do you see your sound evolving to in the future?
Time will tell really. I’m just trying to develop my sound, bringing outside influences in, most recently I’ve been hearing a lot of great new house music and hiphop which was something I left untouched for years. I'm sure this attention will translate itself in some way shape or form into new music.

You seem to have an aversion to pigeon holing your music into particular catergories which is understandable. What are your reasons…?
Well I understand perfectly clear that in order to write about music
or talk about music you may need words to describe styles and sounds, to define waves of similar music (genres). But I look at it from a musicians perspective and try not to think in genres too much, as I want to be completely free making my music, and if I would start a track thinking "this has to be a dancefloor dubstep track" I already limit myself so much. In ordinary music conversation I use genre names obviously so its not a complete aversion, but some media types tend to get creative and come up with some strange examples of genre names!

What next for your label 3024?
Well in June we had the release of Natural Selection / Vancouver, after summer we're putting a remix 12" out with two very exciting artists, with their versions of Vancouver and Natural Selection. After this another 12" and then it should be time for an album.

For more info check http://www.myspace.com/martyndnb or http://3024world.blogspot.com/

July Tippity Top Ten

^^2nd Drop 004 at the top of the pops!^^

July Top ten

Migrant - Duende (Forthcoming 2nd Drop)
JKenzo - Conqueror (?)
Coki - Bloodthirst (Forthcoming Sub Freq
Unknown - Murderation (forthcoming ?)
LD - Green Ranger (Forthcoming 2nd Drop)
The Bug ft Flowdan - Warning (Forthcoming Ninja Tune)
Alien Pimp - Transporter (Unreleased)
23Hz & Numaestro - Zumo (Forthcoming 2nd Drop)
Overcast Radio - Solid State (Unreleased)
Shortstuff - Trigger (Unreleased)

Non dubstep special:
Bullion - Get familiar (One Handed Music)

Sub FM June 30th 08

Markle Sub FM – 30th June 2008-07-03

http://archive.subfm.com/Markle30Jun08SubFM.mp3

Raphael Saadiq - Sky’s the Limit – Yam Who’s spiritual rework (Yam3)
O’Jays – Backstabbers (TSOP)
Mary Jane Girls – All Night Long (Gordy)]
De La Soul – Do Do Damn Thing (Chop Chop)
Gangstarr – Full Clip (Virgin)
Soho - Hot Music (White)
Seiji – Loose Lips (Bitasweet)
Unknown – Loose Tips (White)
Theo Parrish – Twin Cities (Harmonie Park)
Alien Pimp – Transporter (Unreleased)
Kode 9 - Konfusion (Hyperdub)
The Bug ft Flowdan – Warning (Forthcoming Ninja Tune)
Juju – Red Dress (Narco Hz)
Coki – Bloodthirst (Forthcoming Sub Freq)
Fat Freddy’s Drop – Cay’s Cray – Digital Mystikz Version (Kartel)
Migrant – Duende (Forthcoming 2nd Drop)
Benga – Electro Musik (Tempa)
V.I.V.E.K. – Fly Away (Unreleased)
Overcast Radio – Honky Paradise (Unreleased)
Chefal – 06.31am (Forthcoming Sub Freq)
Allstars – Walk On By (Allstars)
Unknown – ? (?)
Jkenzo – Conqueror (?)
Radikal Guru – Iron Shirt (Unreleased)
Unknown – War 05 A (White)

Subbus meets 2nd Drop hosted by Sgt Pokes

subbus meets 2nd drop hosted by sgt pokes

LIVE from Barcelona the day after SONAR, on the mighty SUB FM - 21-June-2008

Pure vibes, Magical moment.....absolutely MASSIVE time on the studi I O!!!!! oi oii

Big respect to all those who locked!!!

Tracklist will be sorted soon

temporary links:
link1: http://www.sendspace.com/file/2gd7yq
link2: http://www.divshare.com/download/4827295-3da

Massive shouts to all the gang in the place!!
Subsound, FX, Moonshine, Jbliss, Sgt Pokes, Numaestro, 23hz, Lito, Greta & Pablo!!!

Absolutely LARGE!!!

Phill Blake is Philth Vol 2

Introducing Phil Blake....Philth Vol 2

This guy is a sick illustrator from the Midlands who regularly inks his wares at the legendary Secret Wars events across the country and has also create logos and artwork for 2nd Drop Records, Oris Jay's Darqwan and Reso. Check his styles below!

June - Mid month Top Ten

LD - Green Ranger (Forthcoming 2nd Drop)
Rude Kid - UFO Mode (Forthcoming No Hats No Hoods)
23hz & Numaestro - Zumo (Forthcoming 2nd Drop)
Shortstuff - Never Mine (Forthcoming Berkane Sol)
Distance - Headstrung (Unreleased)
Martyn - Vancouver (Forthcoming 3024)
Cotti - Dem Fi Know (Forthcoming Argon)
12th Planet - Ptera Patrick (Forthcoming Smog)
Tricky - Council Estate - South Rukkas Crew Remix (Domino)
Konnek Deep - Glow Bug (Unreleased)

Dubwise special:
Dub Providers ft Echo Ranks – Wikidness Increase (Nuff Powa)

Kode9 - Time Patrol

Sick sick siiiiiiiick

Yes yes dubsteppers!

I'm please to finally announce that 2nd Drop 004 is finally in the shops. After a rather tumultuous time the double sider is here!

And has received support and props from Skream, Plastician, N-Type, MAH, Rob Da Bank and many, many others.

2ndrp12004
A. Twisted - Contact
AA. Sully Shanks - Give Me Up

Available at Chemical Records

and soon to be in Juno, Boomkat et al.

---
News flash!!!

Next release 2nd Drop 005

We are proud to present Transition dubplate master, LD.

2ndrp12005
A. LD – Green Ranger
AA. Sully – Give Me Up (LD Remix)

Release date 04/08/08

Emerging from the sound proofed walls of Dubstep’s legendary mastering institution, Transition Studios, LD is a man who has heard every new plate created by the scene’s top players, by cutting dubplates for the likes of Mala (DMZ), Skream, Benga, Distance and N-Type. For a producer at the epicentre of sound, you wouldn’t be surprised to hear his productions influenced by these prodigious talents. But no, LD is quickly carving out his own unique sound.

After his debut release on Ringo Records with Clockwatching and Swing Dat Skirt, LD aka Leon Day pushes his distinctive sound still further with an original and remix production. Green Ranger eschews the half step template in favour of a more polyrhythmic structure, whilst keeping his foot firmly down on the pulsing and probing effects.

On the flip, LD tackles Sully’s ravetastic Give Me Up (2nd Drop 004), transforming this nostalgic slice of euphoric dubstep into a deadly piece of future soca dub. Riffling soca percussion would feel more at home behind a precession float at Notting Hill Carnival, if it wasn’t for the addictive descending bassline motif, which shakes every soundsystem in the country to the ground.

www.2ndroprecords.com
_________________
http://markleman.blogspot.com
www.SubFM.com - Bi-weekly Monday's 6-8pm UK Time

Yo! Bum Rush The Show!!!

Is it too sad to get my Rebel Without A Pause 12" signed?

There!!!

Diesel U Music Radio

http://dum.diesel.com/radio

I was kindly invited to do a 2hr radio show on Diesel U Music Radio, which is broadcasting for a month only throughout May 2008.

You can check the daily schedules here and check out the fantastic range of DJ's and bands who are presenting shows here.

Mine was broadcast last week and i forgot to blog about it. Silly me :-{

An update will be forthcoming!

Steppas' Delight!!!!

After making her name as a journalist at Jockey Slut and The Face, and being a four times judge on the Mercury Music Prize, Emma Warren now writes for Observer Music Monthly and can be found regularly with her head in a bassbin at DMZ and FWD. I managed to catch up with her (and break my AIM interview cherry) over instant messenger and have a quick chat about her new dubstep compilation Steppas’ Delight out on Soul Jazz Records.

What was the initial inspiration behind the Steppas’ Delight compilation?
Just loving dubstep. That came first. Then after a while I really wanted to start doing something. I really felt that I shouldn't dive in and pretend to know everything.... like I might have done as a journalist, and probably have done in the past as a journalist. I wanted to live it properly. And then do something.

The initial idea though was to do a compilation around cutting houses, but that ended up seeming a bit niche. So I talked to Soul Jazz about trying to put together a snapshot of dubstep, something that rounded up the different styles and sounds and gave the listener and idea of where it had come from and where it was going.

And I think you've succeeded. Steppas’ isn’t a nostalgic or stale release, which is so easy to do in a underground music that moves as fast as dubstep. The comp has a lovely balance of classic, contemporary and fresh.
Well that was the hard thing! Because I took the idea to them in May 2007 and they OKed it after a few attempts at the tracklisting. So a lot of the stuff on it was more futuristic at the time than it is now! Steppas has been a slippery thing to put together. The ‘past’ thing was tricky too because of the timing... a lot of the things which look like classics now were really new when they first went on the tracklisting, and there is a temptation is to keep updating it... but you can't.

There were definitely things I missed though, or couldn't fit on for one reason or another. I would have loved to have got Distance on but it never seemed to find a place where the tracks fitted right - and who knows, I might not have got it anyway. The same goes for Caspa. And at the risk of talking too much, I definitely don't claim this as definitive. There's way more music around, and way more music I don't even know about. This is just my personal snapshot based on the music I've loved and the mad, brilliant, energetic time I've had over the last couple of years.

I think it's an important release, as it is the first holistic comp to come out, which is totally inclusive. Not from one stable or another etc. Which has kind of been the norm for comps so far.
That's interesting, because all those compilations are brilliant. Martin Clark's Roots Of Dubstep and all the Dubstep AllStars comps are genius. They serve the heads brilliantly because they showcase a DJs style and loads of new music. I suppose the idea of Steppas’ was to provide an easier 'in' for people who weren't in that deep - and the chance to get some classics like Hardfood for those who know.

The first draft of the comp was only a single CD. How did getting an extra CD help with expanding your vision?
Broadening it out to a double CD meant that I could really try to tell the story properly. I could give more space to the big tunes that had shaped the scene and get more future-facing stuff, and seek out a few exclusives too. It has to be said that a dubstep compilation without any Digital Mystikz isn't a full dubstep compilation, but they have a special kind of militancy which I totally respect. But there is a Loefah mix. :-}

Also, props where due - it was Soul Jazz who suggested taking it over two CDs. It's definitely made a massive difference, because with only one CD I don't think I would have been able to do the music justice. I hope the end result is a good 'walk-through' of the music. I went on Ross Allen's show the other night and he was joking that it had a feminine touch..... not sure what that means but I'm aware of being pretty thorough about trying to show music from all sides, without getting into the politics, and trying to make the whole thing a coherent listen for people who don’t necessarily know that much about the music. Yes, it was a lot of work!

Can I also mention a mistake I made? Gatekeeper's MC Grilza is on the compilation with their track Shade Darker. And he's wrongly credited as Grizla. He is GRILZA... pronounced Grill – Zah… my bad.

The sleeves-notes are quite extensive and offer a fantastic snapshot into the world of dubstep. They were all part off the plan to demystify or open up the music and players within it, right?
I suppose I wanted to share some of my enthusiasm for the scene. People have misconceptions about the music - that's it's all bass-heavy mentalist noise - and they have pre-conceptions about the scene too. I wanted to share my insights into it, that basically it's peopled by some of the most talented, interesting, funny and colourful people I've ever met. I'm talking about the producers and the people who are into it. Plus I wanted to get some brilliant photography in so it was good to get Georgina Cook involved.

And moving onto the Steppas’ Delight launch party tomorrow night. Are you looking forward to it?
Yes because loads of my favourite artists are playing, but I'm a bit nervous... I was really nervous about what people would think about the compilation. I've got such a lot of love n respect for all the people that make the music and run the events and didn't want to jump in and get it wrong (tho I did with Grilza... aiii!). Kris and Nicole from Soul Jazz have done a great job of sorting the line-up out... it's going to be good. It's been a long journey, Steppas, and I've learned a lot.

Steppas Delight is out now on Soul Jazz Records.
---
Complete with extensive sleeve-notes, interviews and exclusive photographs the album comes as deluxe-double CD pack with booklet and two heavyweight double-vinyl LP editions.

STEPPAS' DELIGHT LP VOLUME 1 TRACKLISTING:


Kode9 - 9 Samurai

Benga - Evolution

Search & Destroy - Candy Floss (Loefah Remix)

Plastician Feat. Skepta - Intensive Snare
Uncle Sam - Round The World Girls (Tes La Rok Mix)
The Bug Feat. Warrior Queen - Poison Dart
Goth Trad – Genisis
Seventeen Evergreen - Ensonique (Bi-Polar man Mix)



STEPPAS' DELIGHT LP VOLUME 2 TRACKLISITING:


TRG - Broken Heart
Quest – Hardfood
Silkie - Dam 4

Geiom Feat. Marita - Reminissin

Shonx - Canton

Gatekeeper Feat. Grizzla - Shade Darker

Martyn - Broken

Shackleton - Blood On My Hands

Mrk1 sent me a rather good promo mix he did. Check the link below!!!!

MRK1 + JSD (Virus Syndicate)

http://www.sendspace.com/file/abd27a

Tracklisting:

1. Skream - Filth Master
2. Chase and Status - Bits 320
3. Freq Nasty - Iraq
4. Skream - unknown
5. Jakes - Freak out special
6. MRK1 - Pornstar
7. Chimpo - Lock off VIP
8. MRK1 - Infected
9. MRK1 - Deathstar
10. MRK1 - Electronik
11. Skream - Calous
12. Benga - 26 Bass Refix
13. Chimpo - Badman no friend fish
14. Biome - unknown
15. Skream - Simple City
16. MRK1 - Counteraction
17. Benga - Night Special
18. Chimpo - Smokin Camal
19. Chimpo - Informer
20. Chimpo - Lickle Stereo
21. Chase and Status - Badout Riddim
22. MRK1 - Borderline Vocal
23. Rusco - Period
24. Virus Syndicate - Love the music (instrumental)
25. Sugh Knight - ?

www.myspace.com/mark_one

2562

Pic: Derek Djons

2562 Is My Number

When Toots and The Maytals sung about the number 54-46 on their 1960s hit ‘54-46 That's My Number’, it was an all too common tale of oppression and police brutality in Jamaica. Fast-forward to 2008, The Hague, Holland, and Dave Huisman aka 2562 is a man very much carving out his own image of identity and freedom through his music. As his barcode-esque nom de plume, 2562, (pronounced twenty-five sixty-two) 28-year-old Huisman crafts swirling, crackling tech-infused dubstep, and his forthcoming debut album for the Tectonic imprint, Aerial, is a pregnant, swollen beast full of electronic warmth, filtered and phased pads and plenty of textured attention to detail. Indeed with Aerial, Huisman has succeeded in pushing dubstep right to the margins, working in the grey, cracked areas between techno, broken beats and hip hop.

Whilst his previous production incarnations as the broken beat inspired Dogdaze and more techno focused A Made Up Sound have clearly honed his skills, it has been Huisman’s two 12" releases on Pinch's Tectonic label which has garnered support across the musical map. The likes of Kode 9, Pole, T++, Laurent Garnier, Akufen and Gilles Peterson are known to rotate 2562 beats and his long player can only help launch this burgeoning talent onto higher planes. ATM caught up with the Dutch fusionist to talk influences, 80s R&B and making the album.

What is the story behind your name 2562? Is it your postcode or a lucky number?
“Yes, it's my zipcode in The Hague.”

What was your relationship with music like when you were growing up? Who were your major influences?
“I've been into dance music for as long as I can remember, I can't explain why. My friends or family weren't, it's always been my own fixation really. As a kid I used to check out the club charts, listen to house and techno and hear local underground radio from a nearby
town on the weekends. Later came buying records in Amsterdam, reading music magazines, discovering jungle and other kinds of music. It never stopped; I'm always on the hunt for new sounds. My musical influences are too many to mention. I let myself be influenced
by anything I hear; even crap can have its one interesting moment or a sound I can sample. I'd say Detroit techno, Basic Channel and '98-'02 broken beat are the main inspirations though.”

How did you start making music? When were the seeds sown?
“I had been thinking of making music for years, but I used to be put off by the thought of learning how to use gear and software. I'm a bit left-handed technically; I didn't even own a PC until I was well into my twenties. Then I forced myself onto a MIDI-course, basically forgot everything I learned there, bought a computer and an analogue synth and taught myself to produce music. That was five years ago.”

When ‘Channel Two’ and ‘Kameleon’ came out on Tectonic there was massive interest and almost frenzied consumption of the tracks. Your richly textured records stood out from the dubstep pack and even made a sizeable impact on the techno world. What was the inspiration behind these twelves?
“I usually get my inspiration from other music. No doubt from life itself as well, but that happens on a less conscious level. Late 2005, I was really excited when I discovered tracks such as ‘28grams’ or ‘Mood Dub’ because they represented a whole new kind of music to me. I hesitated for a while before getting involved with this 'dubstep' thing ’cos I didn't want to jump someone else's train, but I figured if I bring my own musical background and preferences into play, I would come up with different music anyway.

“That's what I usually do; absorb and process elements from all kinds of music I love and fuse them into something I feel comfortable calling my own. ‘Channel Two’ has some broken beat elements to it. ‘Circulate’ started life as a techno track which I stripped and
reworked. And ‘Kameleon’ was supposed to be a beatless piece, until I started playing with a few bongo hits and got carried away.”

And how did it end up in Pinch's hands and on the Tectonic label?
“I sent him a couple of tracks late 2006; ‘Channel Two’ was his fav off the first CD and we took it from there. He's been the best support I could have, I'm very happy with being on the label as it avoids tried and tested formulas. It's not about shifting units, every release is
special.”

How did the idea for an album come about?
“Pinch asked if I'd be interested in doing an album early on, but there was no pressure as his and Cyrus's albums were still to come. I just kept making tracks without consciously working on an album until after last summer. From then on I started compiling and writing music that I felt was still needed in order to make it work as an album. Obviously an album should be something you can listen to from start to finish, not just any collection of good tracks. I wanted it to be rhythmically varied and have a good flow with ups and downs, tied together by a certain sound as the common factor. You can expect it to drop late spring as a 2x LP/CD, preceded by a 12" with two exclusive tracks. I'm really looking forward to the release.”

Is the extended canvas of the long player giving you a chance to expand your sound and play with fresh ideas?
“Not necessarily, although there are a few tracks I wouldn't have made if it wasn't for the album. But I tried to come with a new idea with every track, otherwise I'd lose the fun. For the same reason I don't often work with the same sounds twice. It's time consuming because I'm sampling and tweaking my ass off, but I find it much more rewarding in the end.”

Did you have a local broken beats/ techno scene?
“I haven't been part of a scene really, but I went out to various techno, D&B and broken beat nights in Rotterdam over the years. Also in Amsterdam the crew around Rush Hour Records puts on really good events in Paradiso with quality house and techno, broken beat, hip hop, funk, disco and what not all mixed up.”

What is your secret musical love, which you never tell anyone because you are a little bit embarrassed of it?
“80s R&B”

When you say you like 80s R&B - are you talking about Bobby Brown and Cameo or more boogie style tunes ala Leroy Burgess?
“I actually had in mind classics such as (SOS Band) ‘Just Be Good To Me’ and ‘Saturday Love’, but indeed Leroy Burgess productions such as ‘Weekend’ is a good example as well. Although the latter is not really a guilty pleasure, just good music.”

You have a rich palette of sounds within your production, so what other artists are you feeling at the moment?
“Shed, Quantec, Convextion, Andy Stott and Flying Lotus to name just a few contemporary favourites. Within dubstep I really dig the work of guys like Martyn, Kode9, Burial, Peverelist, Pinch, Mala, Headhunter and Untold among others.”

‘Aerial’ is out on Tectonic in June ’08. For more info check: www.myspace.com/2562dub
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This interview is also published in ATM Magazine and on www.3barfire.com

Kontakt!!!

My next DJ gig. Alongside my boy Reso. Should be fundiddlyum

Kontakt is Leicester and, i should probably say, the midlands finest dubstep night. Seen the likes of Skream, Benga, Chef....etc etc etc....all the top brass deck wrecking. So am priviledged to be asked to spin.

Big up Felis. Just need my train tickets now bruv ;-}

Charlie Dark's "Have Box Will Travel"

Saturday night I took my girlfriend to see my friend Charlie Dark's new show "Have Box Will Travel" at the Lyric Theatre in Hammersmith. If you know Charlie, you'll know he's a creative dynamo. Ever organising, performing, teaching and of course, DJing. I'm lucky enough to have brought him in on a youth project I was working in Lewisham back in 2005-2007 called Live Recordings, teaching a bunch of 'at risk' kids from South East London how to run a record label. So, as soon as he'd told me about his latest project I had to go.

"Have Box Will Travel" is a strongly auto-biographical play about Charlie's musical coming of age: from the halcyon dreams of a child bedroom DJ hyperactive on the fumes of Public Enemy's revolution, via larger than life characters like Sweaty Tony and the most perfectly realised of all, his confused and hilarious 'Nubian Queen' mother. Charlie takes us on a journey, pulling us down into the isolation of his breakdown post major label rejection, only to brought touchingly back into focus again with the birth of his first child, Naima (named after a John Coltrane song, but shhh, don't tell mum). All to a sound track of classic funk, afrobeat, hip hop and jazz.

A warm, touching and very funny insight into an all too familiar story of hopes, dreams and growing pains all told with Charlie's usual storytelling panache. "Have Box Will Travel" is a musical trip down memory lane that made me rush straight back home and dig out my old soul, jazz and hip hop records to relive the very same fuzzy nostalgia. Go see this, only one week left!

---
Show synopsis:
It’s hard being the king of the turntables when you live in South London and your African mother doesn’t understand her Hip from her Hop.

Charlie Dark’s new show Have Box Will Travel
is a rites of passage story that takes you from a bedroom in South London, round the world, and back again, with life-changing tracks and slick direction from Hip Hop theatre favourite Benji Reid.

Charlie Dark is a dynamic part of the UK’s poetry
and performance scene as a writer, producer
and DJ known for his flamboyant gestures and vocal gymnastics. Charlie founded Blacktronica, a monthly showcase of the Black electronic music scene in Britain.

More info and booking details here - http://www.lyric.co.uk/fromhomepage/pl333.html

Red Bull gives you....Music!

Skream playing and talking about his music at the Red Bull Academy

THE RED BULL MUSIC ACADEMY TURNS TEN!

APPLICATION PHASE FOR BARCELONA 2008 NOW OPEN
March 14 – May 05, 2008

 
Workshop Term 1: September 21 – October 03, 2008
Workshop Term 2: October 12 – October 24, 2008

It’s double digits for the annual Red Bull Music Academy. The tenth Academy hits Barcelona this autumn and they are now accepting applications from passionate producers, singers and DJs who want access to mind-blowing lectures and access to jaw-dropping studio equipment. The Academy takes place during September and October and applications can be made between March 14th and May 5th 2008 at www.redbullmusicacademy.com
Each year two groups of thirty participants cherry-picked from all over the world – there have been house DJs from Khazakstan, hip hop producers from Colombia and multi-instrumentalists from New Zealand – are accepted into the Academy for a fortnight-long term. They are joined by a colourful list of musicians and musical experts who share studio tips and the stories behind the tunes during informal lectures and lab lessons. Gigs are then played by the guests and Academy attendees in different venues around the city.

The Red Bull Music Academy first opened its doors in 1998 and has become a platform for those who shape our sonic future. Since then over 450 pioneers of modern music have spoken at its various editions held around the globe including ‘90s hip hop godfather DJ Premier, Planet Rock producer Arthur Baker and The Mizell Brothers as well as a host of young producers from Sinden to Skream. In addition, many of the 600 alumni have gone on to collaborate with the experts they met at the Academy and  have written albums or started their own labels. Previous participants include Buraka Son Sistema, Mr. Hudson and the Library, Aloe Blacc and Flying Lotus.  

Traveling to a new location every year The Red Bull Music Academy has previously touched down in Cape Town, Berlin, San Paulo, Melbourne and Toronto. Each editing involves setting up a bespoke campus filled with local art, and building both a live recording room and a labyrinth of studios – and filling a borrowing-room with desirable synths, samplers and keyboards ready to be borrowed by the participants. 

Applicants must be passionate about music, have a desire to learn and share ideas and be 18 before September 21 2008. Once the application process is completed, successful applications will be invited to participate in one of two terms: September 21 – October 03, 2008 or October 12 – October 24, 2008 in Barcelona.  

For those interested in finding out more about The Red Bull Music Academy check out www.rbmaradio.com  for on-demand access to over 500 exclusive shows, mixes, live feeds, tribute sets, guest DJs and interviews, as well as lecture podcasts from some of the Academy’s most inspirational guests.

All information and lectures are also available at www.redbullmusicacademy.com

Jamie Lidell is back!

What a voice!

April 08 Top Ten

What's occuring people? April is swinging with a serious selection of fiya tunes in this months top ten +1!!! Most exciting of all is that we have confirmed LD's awesome future soca dub track, Green Ranger as the flipside to his Sully 'Give Me Up' remix, which both me and JBliss are stoked about. Taking 2nd Drop off in new sonic tangents and once again proving you can't pin us down to just one sound, style or vibe, LD is a very welcome addtion to the roster and a talent on the rise, keep em peeled!

2nd Drop Music - constantly moving and evolving, always forwards, never backwards. Zoop!

LD - Green Ranger - 2nd Drop
12th Planet ft Howard Marks -Untitled 65 (Unreleased)
Sully - Make Me (Unreleased)
Pinch - Chamber Dub (Soul Jazz Promo)
2562 - new LP ;-} (ForthcomingTectonic)
23HZ & Numaestro - Fantasmas (Dub)
Bowzer & DZ - Another Day (Mugwell Bill Rekids Promo)
Ges-E & Sukh Knight - Vengeance (Unreleased)
Martyn - Stormwatch (Forthcoming Revole:r)
Benga & Walsh - Addicts (Texture)

Special request non-dubstep killer
Sharon Brown - I Specialize in Love (Profile/ Virgin)
A disco/ boogie classic from 1981, killer piano stabs and a vocal that is soooo good, well, I would devote my life to the women if she were still with us (fact check: make sure she's dead first, apologies Sharon if you're not) Big tune!