Friday, 30 May 2008

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.

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.

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.
_________________ - Bi-weekly Monday's 6-8pm UK Time

Thursday, 22 May 2008

Yo! Bum Rush The Show!!!

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


Wednesday, 21 May 2008

Diesel U Music 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!

Friday, 16 May 2008

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.


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)


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

Thursday, 15 May 2008

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

MRK1 + JSD (Virus Syndicate)


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 - ?

Tuesday, 6 May 2008


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

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:
This interview is also published in ATM Magazine and on