You need to hear this

The definitive version for me.

New 2nd Drop - J:Kenzo & LD

2562 (Tectonic) - “J:Kenzo track is nice, liking the stripped down percussion n bass flavour :)”

Joe Nice (Dub War) - “Conqueror has been tearing up the dancefloor”

Diplo (Mad Decent) - “I love your label!!!”

DJ support from Caspa (Dub Police), Benga (Tempa), Untold (Hemlock/Hessle Audio) Mary Anne Hobbs (Radio One), Ramadanman (Hessle Audio/2nd Drop), Shortstuff (Blunted Robots), Reso (Civil Music), Sinden (Kiss FM), Desto (Ramp), Modeselektor (BPitch Control)

Another slick double artist 12” from the 2nd Drop camp and for this, our 9th release, Soushakerz head honcho and Kent second finest achievement after the Channel Tunnel, J:Kenzo, offers a blistering A side with Conqueror. This moody, skittish and intense bongo led firecracker that descends into a thumping bass skank out on the drop, is pure dancefloor dynamite.

On the flip sees the return of LD, who continues to take the percussive elements deeper on Derailment, adding in ravey synth line and switch up 2nd Drop that compliments Conqueror perfectly. Two tracks that will never leave the box.

As always, 2nd Drop commissions some fresh and totally bespoke artwork, welcoming back one of Portugal’s finest illustrators and guerrilla artists, Uiu, last seen on 2nd Drop 006, interprets Conqueror in his own unique style. (http://www.uiu-uiu.com/)

J:Kenzo - Conqueror (2nd Drop Records) from Markle on Vimeo.

LD - Derailment (2nd Drop Records) from Markle on Vimeo.

Rebel Skankin - Friday 27th Nov 09

Reading stand up!

27th November 2009 @ The Venue, Reading
10pm – 4am
£3 before 11pm - £5 after
£1.50 a pint!!!!
-------------------------------------------------------
Dubstep / Jungle / Drum & Bass / Hip Hop / Bassline / Crack House / Dub / Reggae / Funk / Soul
-------------------------------------------------------


Room 1

10-11 Martial b2b Acronym
11-12 Savage Henry b2b Dub Chambers
12-01 2nd Drop Records
01-02 Dusty Lungs b2b Saine (Old School Jungle set)
02-03 Hijak
03-04 Benny Page


Room 2

12-01 Ritch
01-02 Martial b2b Acronym
02-03 Daddy Nature
03-04 Room Closed

-------------------------------------------------------

Hijak (Deep Medi/Tectonic/)
http://www.myspace.com/thehijak

Benny Page (Digital Soundboy)
http://www.myspace.com/bennypage1

2nd Drop Records
http://www.myspace.com/2nddroprecords

Daddy Nature b2b Pneuma (Urban Nerds)
http://www.myspace.com/audiorevolution1

Dusty Lungs b2b Saine (STEP:ONE/ Urban Nerds)
http://www.myspace.com/dustylungs23

Savage Henry b2b Dub Chambers (Tasty Bits)
http://www.myspace.com/djsavagehenry

Martial b2b Acronym (Acetate)
http://www.myspace.com/rsollydesign

Ritch (Junction)

You've Got The Love (The XX Remix)

You know it's real!

We Wah Ten @ Scala

It's nearly here! Wah Wah's Tenth Birthday!

So, with a stupidly sick main room and the awesome One taste in room three, I am going to be rather selfish and big up the dubstep room (2), and boy what a line up! Loefah, Ramadanman and LD all bringing their unique take on where bass music is right now.

Loefah is one third of the legendary label and club night, DMZ, along with Mala and Coki. These three men have been instrumental in defining the early dubstep sound, and continue to break boundaries with their musical output. Loefah now concentrates much of his time on his own Swamp 81 imprint, and released the debut album by Krytpic Minds in October.

2nd Drop was lucky enough to work with Ramadanman on one of his first dubstep projects, releasing a rather naughty bootleg of Nina Simone's Feeling Good in 2007. Now, his music has been championed by key tastemakers Ricardo Villalobos, Rob Da Bank and Modeselektor among others. He has recently mixed the latest Dubstep Allstars 7 with Chef. He is one of the most exciting and forward thinking of producers and DJs in underground music, so expect dubstep, funky, electronica, techno and everything else in between.

Apart from holding one of the most important roles in dubstep - cutting dubplates for the scene's key DJ's and producers - LD is also a wicked producer with a distinctive and vibrant style. With releases on Hyperdub, Ringo and 2nd Drop, LD offers a heavily percussive sound that is both unique and brilliantly effective.

Also joining the fray is Reeps One who is currently the 2009 UK Beatbox champion. Saw this guy at one of our Big Dirty nights in Birmingham, he tore the place up.


TICKETS ARE SELLING SUPER FAST!! BUY YOURS NOW!! ONLY £12!!

http://www.ticketweb.co.uk/user/?region=xxx&query=schedule&promoter=wahwah

Ghostown gets the Agents of Change treatment

Ghostvillage from Agents Of Change on Vimeo.

New 2nd Drop - LV ft Errol Bellot "Don't Judge"

Diplo (Mad Decent) - “I love your label”

Untold (Hemlock/ Hessle Audio) - “Love the Fantastic Mr Fox Remix”

Mary Anne Hobbs (Radio One) - “Oh yeeeeeah!! I love this”

DJ support from…) Sinden (Kiss FM), Alex Nut (Rinse FM), Starkey (Seculsis/ Planet Mu), 2562 (Tectonic), Alex Chase (One Handed Music), Wrong Tom (Resonance FM), Geoim (Berkane Sol), Brackles, Clouds, Dave Q, Sully, Dom Servini etc etc.

LV ft Errol Bellot
A. Don’t Judge
B. Don’t Judge – Fantastic Mr Fox Remix
2ndrp12008 Release date: 12th October 09


Following in Ramadanman's supreme tribal tracks, comes South London production outfit LV. Fresh from two releases on Hyperdub and remixes for Hemlock, the quartet deliver the rootical Don't Judge featuring vocals from seasoned UK rootsman Errol Bellot, who has worked with King Tubby among others.

On the flip side, Wolverhampton’s Fantastic Mr Fox takes the big tools to the original and refashions an epic remix with a wicked 2 step swing. Nuff said, enjoy!

As big fans of illustration and graphics, over the last seven releases the label has commissioned some truly wonderful art from a slew of talented artists including Remi/Roughe, Uiu and Phil Blake. For 008, London based Mat Pringle was given the chance to design our first 12” sleeve. His wave and bamboo illustration is wicked and is hand printed onto just 500 limited edition sleeves.

Please check his blog for more stunning works of art: http://www.matpringle.blogspot.com

Sony Ericsson B-Boy Championships in Brixton

For those into breakdancing, you'll be a fool not to check the Sony Ericsson B-Boy championships taking place at 02 Academy in Brixton on Sunday 11th October.

The legendary Crazy Legs will be hosting the world final event, which sees the best from the USA, Japan, Korea, Russia, Holland and Scandinavia compete to be crowned world number ones! The qualifiers were held over five-months and seven international eliminations stages.

Repping for the UK is the eight-strong team hailing from London, the Soul Mavericks.

Plus, a little dubstep fact, for those that know dubstep producer and all round top guy Desto, he will be throwing power moves with the Scandinavian contingent.

For more info check www.se-bboys.com

Falty DL - Bravery (Planet Mu) Album Review

Still deep within the grooves of Drew Lustman’s debut album for Planet Mu, Love Is a Liability continues to dominate the audio tapestry of my life. Released in July, his debut marked an emergence of a interesting new talent from New York, here was a producer with a toe in the world of dubstep, but actually, much like Burial, is much more than that. So, it was a little surprising to hear that there was a new album dropping in October.

Entitled Bravery, the mood is darker, morehttp://www.blogger.com/post-create.g?blogID=4977582656427216755 dissonant than his previous material. There is an overt sense of progression in both the sound and production; the record pulses forward, none more so urgently than on Tronman, an epic, rolling beast of eerie, panning synths and wailing soul vocal snippets. The intensity is only heightened on Play Child, which has a charged air of Axelrod about it. Mother Beam wonks and samples its way around – Nas’s It Ain’t Hard To Tell sneaks in sporadically. Title track Bravery is some space age, wigged out p-funk, alongside Discant, rife with Herbie Hancock harmonies and Roy Ayres strings. Whilst Pressure jacks a ton of speed and creates hyper funk, opening track Made Me Feel So Right is the most beautifully discordant piece; mournful, stinking of decay and perfect for the post-Burial blues. Album of the year? Quite possibly.

Urban Nerd Carnival Special! Saturday!

Location:
The Hearn Street Car Park 16 Hearn Street (off Curtain Road) Shoreditch London EC2A 3LS Nearest tubes: 10 minutes from Old Street or Liverpool Street station!

Google Map

Limited £10 advance tickets still available & will sell out.

Tickets WILL be on sale on the door for more, first come, first served!

Sub FM 27/07/09

Artwork above is by Remi/Rough and is entitled 2nd Drop. Nice.

Markle on Sub FM – 27/07/09

Markle27Jul09SubFM.mp3 http://bit.ly/fgYbp

Lone - Karen Loves Kate (?)
Paul Weller – Wild Wood (Sheared Wood-Portishead remix) (Go Beat)
Mount Kimbe - 50 Mile View (Hotflush)
Blue Daisy - Space-ex (Black Acre)
Ras-G - Stealth Mode (?)
The Alkoholicks - Damm (Loud)
Mark Pritchard and Om'mas Keith - Wind It Up (Hyperdub)
Krystal and Shabba Ranks - Twice My Age (Greensleeves)
Mungo's Hi Fi ft Tippie Irie - Ruff Mi Tuff (Scotch Bonnet)
Daddy Freddy - Dirt (Ninja Tune)
Terror Danjah - Zumpi Hunter (Swindle remix) (Plantet Mu)
Falty DL - Tronman (Planet Mu)
Spectrasoul - Insignia (Exit)
DRT - Girlstar (Unreleased)
Pangaea - Memories (White)
High Planes Drifter Vs Goldspot - Sholay (Tempa)
Sully - Toffee Apple (Unreleased)
Silkie - Concrete Jungle (Deep Medi)
Breakage - Higher (Digital Soundboy)
Akira kiteshi - Boom N Pow (Black Acre)
James Blake - Air and the Lack Thereof (Hemlock)
LV ft Erroll Bellot - Don't Judge (Fantastic Mr Fox) (2nd Drop)
Geeneus - Yellowtail VIP (Rinse)
Untold - Just For You (Roska Remix) (Hotflush)
Floating Points - Vacuum Boogie (Eglo)

Silkie City Limits Launch Parteeee

Silkie celebrates the launch of his brilliant debut album on Deep Media Musik (see review below) at Corsica Studios on Thursday 23rd July. The line up is:

Silkie
Quest
Mala
Chef
Harry Craze
& support from Antisocial


Reviewed in ATM Magazine, July 09 Issue
Silkie – City Limits Vol 1 (Deep Medi Musik)
23 year old Soloman Rose is a rare breed in dubstep. A meticulous craftsman of melody and gifted with a capital G, listening to Silkie’s debut album, City Limits Vol 1, you would have laid money on this youngster being much, much older. The palate of sound used is eclectic and almost timeless: deep within its digital canvas you find a plethora of texture and layers; rich seams of reggae, jazz, soul, jungle, garage. Check Turvy for its jazz funk smoothness, the low-riding g-funk on Concrete Jungle, the broken beat swing of Horizon and Mattaz, channeling the classic West London vibe of Bugz In The Attic inna 2009 stylee.

At once refreshing, City Limits brings something unique to the dubstep genre. If you just dip a toe into the 13 tracks on offer it will sound like no other. Sure, the gargantuan basslines rumble form the speakers like slugs on steroids, but they are vibrant with funk. More importantly they underpin a lush and detailed sound panorama that can traverse from darkly hypnotic to palatial in a single tune - Head Butt Da Deck, Beauty and Quasar are perfect examples. Buy this album to truly realize the flexibility and potential of dubstep, but also buy it because it’s a bloody good listen.

Remi/ Rough latest show

This Saturday is the LAST chance to see Remix/Rough's exhibition! The Gallery will be serving cold beers and soft drinks on Saturday between 1 - 3pm.
He's got some truly dope original artwoek for sale. I'll be taking my cheque book for sure!

He also did the artwork for our latest single - Ramadanman "Revenue" on 2nd Drop Records. Buy here

Urban Angel Gallery
41-43 Redchurch Street, London E2 7DJ
http://www.urbanangel.com

Magnetic Man Interview

Starting life as a tremor, a shaking floor board, a repetitive throb emanating through the feet of skulking red-eyed loafers in a dingy east London basement club, Magnetic Man aka Artwork, Skream and Benga played their first gig at seminal dubstep night FWD in Summer 2007. Those 200 odd people in attendance will remember the rather bizarre screen; more toilet window than mysterious see through shield. But most will remember, through a tangy fug of sweat and cigarette smoke, the unforgettable strains of ‘Everything Cool?’ striking out across the heaving dancefloor, whilst afro-topped shadows and lanky forms bled through the barrier screen.

July 2008, Roskilde Festival, Denmark, Magnetic Man are again behind another screen. Yet this one is much bigger and being pummelled by a gigantic oscillating white laser, seemingly beaming straight out of the Magnetic Man trio’s machines in time to the gruelling bass and synth barrage. This is dubstep on a massive scale.

The dubstep super group have been friends since the legendary Big Apple record shop days, and Skream and Benga’s friendship is well known. Yet, the lesser known, but equally important figure, indeed the glue that holds the collective together, is Artwork. The knowledgeable, calmer big brother character in the trio, Artwork is also a seasoned producer, a pioneer of the dubstep sound through the monumental classic record, ‘Red’, on the Big Apple label in 2003. As a trio, they form a kinetic, dynamic sabre of energy, enthusiastically reshaping and mutating their music through a combined vehicle of sound and light. Magnetic Man works on the big stage by letting the music do the talking; egos are replaced by an incendiary light show that skilfully taps into a deeper rave aesthetic. In an attempt to get behind the screen and discover what batteries power the trio, Mark Gurney managed to track down Artwork and Benga to talk about million pound light shows, technical failures and dwarves wrapped in foil.

Markle: Describe Magnetic Man to a layman.
Artwork: It’s supposed to be three people coming together, with different ideas to make something...
Benga: …Superb. It captures what we do individually, live. I don’t think on our own we could have done that.

When was the genesis of Magnetic Man?
A: These guys (Skream & Benga) had been DJing that kinda of sound, and me, Benga and Skream were starting to make tracks together. So we started making tracks that could mix together, then mixing them with other tracks that had already been done.

So ‘Everything Cool?’ and ‘Soulz’ were the first tracks that you thought, specifically, these are tools, rather than just music?
A: They were done very, very quickly, because we didn’t have much time, so we blocked them out and they were just to be played in a set. And to take them apart, and build something and mix stuff up and do it live.
B: Yeah. It was more about automation and what we could do live.

Are they ever coming out? Or are they lost dubs?
A: We said they were never coming out, but you never know, they were just to be played, so you’d come and see the show.
B: ‘Everything Cool?’ is still one of my favourite tunes.

Getting into the group’s dynamic. Artwork, does your greater experience and years mean you play a specific role within the group?
A: Yeah, I try and get them out of bed, to get them places on time. It helps to have seen a lot of it before, playing out lot, and standing back and seeing how things can work, like the live show.
B: I wouldn’t have a clue where to start. I remember thinking when we first started, ‘wow, we are gonna be just like three boys on laptops shaking our heads’. But it does look a lot more than that when you’re out in the crowd.
A: We are lucky; we’ve linked up with this guy called Eliot from Novak, who’s a super brain. He designed it so that the music would link to the visuals. So he has made some special little tools, so when a new sound comes in, a new pattern comes up with the lighting, to change the mood of everything. He’s a bit of a genius.

When you guys are playing do you each have a role to play?
B: We are like his children on each side, he holds us in headlocks.
A: It works as this, the middle computer is the master, so it sends out a midi click to the other two to make everything run in time. All three computers are running the same set, but it’s all interchangeable. It just worked out that we happened to stand that way. And I know if Benga’s got the bassline, I can look to him, and if Skream’s got the top line or doing the drums, everyone knows where everyone is standing.

It must be nice for you to add that variety into your music as opposed to DJing records all the time.
B: That’s the thing; it brings excitement to the other. When I come back from doing Magnetic Man, I’m happy to DJ again. And when I DJ for while, I’m looking forward to Magnetic Man. It’s perfect.
A: I have DJ’d for years and years, but this is a totally different experience. When you are DJing on your own, you are playing records. But if you know there is three of you, and you know he’s pulled the drums out or he’s pulled another drum loop in, and you think, Ah, that’s brilliant. And you think, right, he’s done that, Fair enough. Now, try this!

How do you manage to make time together when each of you have such hectic DJing and studio diaries?
A: How the music is made is pretty much just where and when. Which is good as it falls in funny sort of times. Maybe I’ll come up with something, or Skream will, and say what do you think of this? Just a very basic idea and then pass it over. Someone else can have look at it and pass it back. Native Instruments have just given us loads of plug-ins, so now we are getting the same plug-ins you can use drop box and share files, and then get together. So, it’s not like, get into the studio, sit down, and then maybe something doesn’t come out or maybe it does. You bounce stuff between each other until you find the time to say, ‘that’s good, we can finish that’.
B: I’ll do that a lot at my house, I’ll make something, but I can’t think of what to put with it, so pass it onto the next man, phew, there you go.

Any tracks that have been a really nice collaboration?
A: ‘Cyberman’. That’s brilliant. It just started three different places and got passed around.
B: When you think about ‘The Cyberman’, I think about us being on tour, we done it live and decided to make it into a song.
A: That was just one day, we had the riff, messing around with it live, Beni’s got the vocoder and just doing the keys and came up with ‘The Cyberman’. We were laughing about it, but it stuck so we go in the studio and made it.

So what’s the inspiration behind ‘The Cybermen?’
B: You know what, they asked me this at Radio One, ‘Are you a fan of Doctor Who?’ I said ‘Sorry mate’ (laughs). The thing is, when you’re live you’re playing keys and you do random shit, on the spot. When you’re in the studio you can change it, and at the time you go, ‘you know what, I’m going to edit that and make it sound like this’, so you lose a bit of the creative side of things. But now, instead of saying ‘The Cyberman’, I say, ‘The Gingerman’.
A: We did change it to ‘The Gingerman’ coz the lighting guy Elliot is ginger, very ginger. So at a couple of the gigs we did change it to ‘The Gingerman’. It changed at Glastonbury to, ‘The Ciderman’, when Beni discovered cider...
B: Ah, that was such a mess, I’m telling you, that was one of the messiest two days of my life!

Does Elliot get on the lash with you as well?
B: Yeah, he’s part of the group.
A: Yeah, Elliot is definitely part of Magnetic Man. Without him it would be just three geezers with laptops.
B: I don’t think you could change the guy either. It’s like a band, if he was to go....
A: It’s kinda weird, when people talk to us about Magnetic Man, you’ve got to understand, a lot of it is the visual side as well. And you’re the first person to ask about this guy. No interviewers ask us about who the lighting guy is and he’s such a big part of the group.
B: The unsung hero.

You are developing the light show quite considerably, from quite a basic set up at the start to massive festivals, Roskilde being particularly impressive with three screens.
A: Yep, three screens and each one cost £1,500,000 each! That’s a big fucking tele.

What do you feel this brings to your show?
B: That’s the thing. When you get to that sort of level, and I don’t think we are that far off, when we can bring our own lights, we are clear. That brings such a vibe in a dark tent.
A: It’s brilliant to hear when you’ve got a bassline and some drums and the topline sound comes in (sings) ‘beuu beuu, beuu beuu’ that is brilliant, that’s good enough. But if you’re got black room and low lighting and then a shape come up on a screen for that sound, that’s where we are at.

Is it true your light show costs triple the amount of your fee?
A: Yep, yep. We haven’t earnt any money at all.
B: That’s part of it, it’s almost like when you’re a band starting out playing all these gigs and doing warm ups.
A: To be honest the lighting guy does take home more money than us, but then he deserves it.

Have you had any serious technology failures?
A: Oh yeah. The best one, we were in Newcastle, and as we have the three Apple Mac laptops facing the crowd and the big labels are sticking out. This guy had put these bass bins right underneath us that were so fuckin’ loud the USB lead out to the master clock just fell out, so dead silence. So we’re looking at each other, ‘is it the mixer, is it the ...’ so dead silence for two minutes. Until some geezer from the front in a broad Newcastle accent says ‘Wi ay man, you should have got PC’s’. And the whole fucking place pissed themselves. You could do nothing but laugh.

What can we expect for the summer festival? Big stages? Bigger light show? Dancers in hot pants?
A: Skream wants dwarfs.
B: Dwarfs is the nice way to say it, you can’t say midget anymore.

Benga being politically correct, love it.
A: Ollie wants dwarfs wrapped in silver foil, and he keeps going on about it. I’m worried someone is going to take him seriously in a minute.
B: It would be funny to do it.
A: Maybe they could run the light show. They could run the light show and put Elliot out front wrapped in silver foil.

How are you getting around? Do you have a dodgy tour bus?
A: Nah, we’ve got Graham, the hardest tour manager in the world, and a big silver coach that we call Moonraker. One that these guys manage to fuck up with disgusting crisps and food everywhere, within a day.
B: It’s lovely.

How are the festival soundsystems standing up to the audio requirements of dubstep?
A: Yeah they are. Some have been not quite right, but they have been more geared to bands. But we have been very surprised. The technology that’s there now, these rigs can handle it.
B: Things like Roskilde, I have to keep going back to it. It was perfect
A: That was the sickest soundsystem. You couldn’t focus on the screen, I was trying to hold onto the screen and hold my hand underneath just to focus on it.

Have you had any disagreements with sound engineers who don’t understand what you are doing?
A: Yeah, the funniest one, we played at Bestival (Benga starts to wet himself) and it was pissing it with rain, absolutely hammering it down, they almost had to shut it down as there was so much rain and mud. And so, I decided just near the end, for a laugh – everyone was crammed into the tent, it was the busiest the tent had ever been and so I thought everyone’s up for it now - I stopped the set two records before the end and played ‘Singing in the Rain’. Benga looked at me and sussed what I’ve done and started laughing. And Skream had thought the fella had stopped the set and was playing some other music and started to go and attack the bloke. So he’s screaming at the bloke, ‘turn this fucking shit off, we haven’t finished yet’, so the bloke’s going, ‘I’m not doing nothing mate’. The poor bloke. It was a good moment.

The Cyberman EP is out now.
www.myspace.com/magneticmandubstep

Ramadanman Interview

My latest interview for the mighty Media Contender music portal is up!

Check Hessle Audio's very own Ramadanman talk about effective wood block deployment and the nuances of drinking milk in France! Plus there is a free download of his first release on 2nd Drop Records never before available!


Media Contender interview here

I wanted to pop the interview below too, if you can't be arsed to go to the other website.

Some say he‘s a musical terrorist. Wild rumours suggest he makes his music in a cave. Others mutter behind cupped hands that he’s a clean living Dorset lad. But what we do know about Ramadanman is that he has an almost biblical talent for making critical beats and running one of the finest labels in dubstep. Middle eastern inspired (although nothing to do with to fasting, prayer and the Prophet Mohammed) non-de plume aside, 20-year-old David Kennedy, got hooked early on the raw energy of UK Grime which helped kick start his production career. But you’d be hard pressed to find the rudimentary elements of the most urban of genres in his output these days. Having carved out a stripped back, skeletal integrity on labels such as Soul Jazz, 2nd Drop, Tempa and his own imprint Hessle Audio, which he runs with Ben UFO and Pangaea, for 2009 Ramadanman is delving deeper into his musical artillery, drawing on house and techno with a distinctive, yet off kilter, tribalism to take on dubstep’s stereotypes and take the music world to its knees. Markle catches up with him to talk wood blocks, milk drinking and 2008 being a killer year.

Markle:
How is living in France working out? Is it having any impact on your music?

Ramadanman:
I suppose it has an impact on my music as I am in a different production environment so it has taken some time to adjust. Also I don’t have all my equipment with me so I am working with a basic setup. I do have more spare time out here, and I don’t go to a lot of nights so I guess maybe subconsciously it is affecting my music. I did sample some local accordion players on a recent tune so there a few overt influences coming into my music!

M:
I can often hear playground noise and atmospheres lurking in the background of your music (Carla, Dubwar podcast). Is this some regressive tendency, or a sonic nuance you think is particular evocative?

R:
I think adding extra ambience adds a huge amount to a tune, taking you right to the place or recreating the mood of where the ambience was recorded. I record a lot of ambience myself now (not the blimey samples!) and I think as you say it can be very evocative. If anything it’s more for personal reasons to remind me of a particular place, or otherwise to add some texture to a tune where I think it needs it.

M:
You have a fierce percussionist trapped inside of you that is unleash on many of your tunes, none more so than Revenue, which feels like Blimey’s steroid dependent brother. Where is this stripped down tribalism emanating from?

R:
I don’t know, but I am into rhythm and I always wanted to play the drums. I often find myself tapping out rhythms on the tabletop when I am bored and stuff like that, so maybe it’s the repressed drummer in me? Most of my favourite music is just beats and bass, so I guess it’s a continuation of that.

M:
Never afraid to diverge from the proscribed templates of dubstep, give us an insight into what drives your creativity and vision, and the need to offer such excellent left of centre music?

R:
I often don’t feel 100% happy with a tune if I can hear that it sounds like someone else, so I think I am keen to make sure my stuff sounds like me. When I first got into the ‘dubstep’ sound, its definition was very loose, and in my mind it still is. So for me as long as the tempo is in the right region (for mixing), anything goes. People can spend too long pondering whether something is or isn’t dubstep, but that doesn’t really bother me anymore. I remember Skream being asked in an interview ‘what is dubstep’, and he replied ‘I don’t know’.

M:
I would have to say 2008 was a pretty good year for you. Not least Hessle Audio becoming one of the must have labels. What has it been like from your perspective?

R:
2008 has been cool, it was nice to see quite a few of my tunes make it to vinyl. It has been great as well to travel a lot, and meet lots of interesting people. I really enjoy travelling to different cities and meeting people from over there – a lot of people are on a similar vibe and it is cool to see what they are doing to push interesting music in their cities. It is an honour to be asked to go somewhere to play!

M:
Your own productions have been gathering some deserved attention; support from across the scene, but more importantly the cross over with Technophiles and the likes of Villalobos. Has this been a surprise to you in any way?

R:
Well there was quite a lot of excitement about this whole dubstep techno crossover malarkey, and for a while it was perhaps kinda trendy and exciting, but yes it was a surprise to have someone send me a video of Ricardo Villalobos opening with two of my tunes at some techno festival in Germany. I have never met the guy, and it was really bizarre to be watching a video on the internet of my tunes, being played off vinyl that I had seen been mastered, through the same speakers and computer that I made them on a few months earlier. Much respect to the guy, he comes across as a very interesting guy, and I’d hope to meet him sometime, just to say thank you!

M:
You are kinda fond of the odd wood block.

Ramadanman:
Never been a fan of rip your ears off super snares, so I quite often use a woodblock! I was discussing woodblock EQing with Pangaea earlier today as it happens….good times.

M:
Are we going to see a Ramadanman album this year?

Ramadanman:
No plans for an album nah. This year should be quite exciting. My tune Humber should be out by the time this magazine is published on Appleblim’s label Applepips. Other than that, I have just remixed the Ragga Twins for Soul Jazz. I have made a couple of tunes with Appleblim, which should come out this year. Also I have tunes under different names which should be coming out, including an EP at 170 bpm, a 140 bpm 12” and perhaps some funky stuff… other than that I have been working on collabs with Alix Perez and Brendon Moeller, and I am working with a filmmaker to provide music for a documentary about an amazing martial arts family in Brazil!

M:
I know there is talk of you starting a funky label. Can you tell us a little more? Are you making Funky?

Ramadanman:
Haha, I’m not sure where you heard that one. I am interested by some of the stuff in this new ‘funky’ vein, especially the tougher stuff which is more percussive, with lots of sub bass – such as Lil Silva, Apple, Roska etc. I have been making some myself, and it has been really fun to try my hand at something new. I am pleased with the results too, and Marcus Nasty has been dropping some of my bits and bobs.

M:
I heard Ben play nearly an hour of funky and house on your Ruffage show on Sub FM. Is this an indication of a change of direction or just adding found sounds to your armoury?

Ramadanman:
I see it as another mutation of garage and it all fits into the history of new UK music and I think rather than a change of direction, it just fits with what we enjoy! I think variety is very important

M:
What does the future hold for Ramadanman?

Ramadanman:
Just trying to make more music really, and visit more places in the world, as well as trying to link up with more of the interesting people I have met over the past few years. I am very excited for 2009, it seems like musically everyone is moving in very exciting directions.

M:
Are you addicted to Milk?

Ramadanman:
A certain friend does call me ‘milky boy’, but recently I have toned down my milk drinking to be honest. Also I’ve switched to semi skimmed, and it’s just not the same. Oh and finally, UHT milk is not the one, it is difficult to find fresh milk in France

Sub FM 20/04/09

Markle on Sub FM 20/04/09

http://www.subfm.com/archive/Markle20Apr09SubFM.mp3

Jamie Woon -Night Air - Live at The Royal Opera House (Unreleased)
Jamie Vex-d – In System Travel (Planet Mu)
Rustie - Bad Manners (Wireblock)
Mobb Deep – Survival of the Fittest (Loud)
Keith Murray – Get Lifted (Jive)
Snoop Dogg – Gin & Juice (Death Row)
Paul White – Hustle - Bullion Remix (One Handed Music)
Prince Hammer – Orthodox Rock (Crazy Joe)
General Leon – Bad Boy A Go Feel It (Techniques)
Horace Andy & Ashley Beedle – Watch We – Pinch Remix (?)
Spectralsoul – Organiser – Ramadanman Remix (Critical)
Falty DL – Paradise Lost (Planet Mu)
Db – Grot Bags (Unreleased)
Kito – Cold (Disfigured Dubz)
Jakes – Calypso (Hench)
Slaughter Mob – SwitchBoard (Halo Beats)
Dubkinetik – Angry (Eight Fx)
Distance – Night Vision – Skream Remix (Planet Mu)
Tunnidge – Higher Force (Boka)
Mr Lager ft Alys Blaze – Tell Me (Subfreq)
Cotti ft 2 Face – Warrior Charge (Studio Rockers)
DJ Madd – Flex’d (Unreleased)
Silkie – Planet X (Deep Media Musik)
Calibre – Stolen Shadow (Deep Medi Musik)
Ramadanman – Revenue - Untold Remix (2nd Drop)
Gemmy - Supligen (Planet Mu)
Joker – Do It (Kapsize)
LV ft Erroll Bellot – Don’t Judge (2nd Drop)
Shaggy – Bad Man Don’t Cry (Big Yard)
Lady Saw – Bad Mon Goin Cry (Big Yard)

Salt Beef - Bank Holiday Sat!!!

Hatcha interview & Mix

Pic: Cleveland Aaron

“Sitting there flicking through tunes, picking out ones that were all similar, I started piecing all these together into sets and at the same time, while I’m doing that you’ve got Benga and Skream bringing their own interpretation of it. So yeah, I was piecing together everyone’s stuff and trying to form something.” That ‘something’ turned out to be dubstep.

Hatcha’s story is a classic one: a young gun calls up a pirate and through shear chops gets a set DJ playing garage on south London pirate. A job behind the counter of the legendary Big Apple Record shop in Croydon fuels his obsession for the dark garage coming from the likes of EL-B, Zed Bias, Oris Jay, Arwork and Benny Ill. A flock of local, freakishly in tune, yet brutally raw producers feed their latest creation to him, which he in turn channels through a residency at new underground night Forward, providing the perfect platform to forge the nascent sound of esoteric, no frills garage coined dubstep. Mark Gurney braves the noxious wind of a one-year-old Pitbull called Oscar to catch up with Hatcha, better know to his mum as Terry Leonard, to talk belching, launching his new night and why he thinks dubstep has much more to come.

A lot of importance is placed on the Big Apple record shop as the incubator for dubstep. Do you have any fond memories from the shop?
It’s heartbreaking it’s gone. That shop was so funny. Had some of the best days in my life in that shop. We’d get all the boys in mixing up records. Skream and Benga were like 13 at the time. l think I took Benga to his first party and his first gig, he was still at school at the time.

Your radio career has been a classic tale of from illegal to legal. You were on Upfront first, and then the first dubstep show on Rinse. What attracted you to Kiss FM?
When you aim to be a DJ in life, if you can be a DJ on a Legal station and get paid for it, surely it’s a dream come true. Rather than paying to play on a station, fuck that. But it’s a circle, they’ve got to do it, to help it run, and to help push themselves (as DJ’s).

Whilst researching this interview I stumbled back across a Blackdown blog post which had two photos of the dubstep scene circa 2001 & the class of 2006. You were in both of them. Do you think you will be in the 2011 shoot?
This is me, for life. Forward and upwards man. I’ve got no intentions of fading away. I can only get stronger.

Who do you think is gonna be in the next picture?
Well, you’ve always got the youngers coming through. It’s what makes the scene evolve. It’s still fresh, whoever is here now is still representing. You just have to raise your game.

Skream broke through with Midnight Request Line, Benga & Coki with Night. What do you think is the next thing to blow?
I don’t think these guys have even bust yet. Benga, Skream, Digital Mystikz, Distance, Jakes, these are talented people. And every month I get more tracks from them, they improve. Yeah, Night and MRL laid the foundations, but they have a lot more to come yet.

Do you agree with the view that the sound has essentially polarized into grotty jump up vs techno x?
Yeah, you have got the different sounds, which is good. That’s why it’s always gonna be interesting. You’ve got jump up; you’ve the grotty, hard industrial sound, which is my sound. I’m not really into the jump up stuff, but it works. If we all played the same it would be repetitive, and would end up like every other scene out there. You can have Benga, Caspa, Kode 9, Digital Mystikz, put them on the line and you not gonna hear the same tune twice in one night. It’s good there is a spectrum of sounds within dubstep, that’s why it’s fresh.

Rusko is working with Katy Perry, Benga with Rhianna. Is this dubstep selling out or just realizing its potential?
It’s just about the potential. Without a doubt.

You’ve also recently started up your own night with N-Type called Sin City @ Herbal. How’s that going?
It’s nice to have another dubstep outlet. We wouldn’t be doing it if FWD was still on a Friday. It’s brilliant; we get all our friends down there mixing. Next one is 20th March. Upstairs we have Funky House and old skool and downstairs we have dubstep. Every night we’ve done has been rammed!

What’s coming on the Sin City label?
A new double pack, we’ve got Benga, Chef, Coki & N-Type, Lost, Crazy D, Kutz. I’m waiting for the vinyl to come through now. Should be the next couple of weeks.

Do you have any odd habits?
Every time I burp I say bollocks. How funny is that. It’s terrible. I shouldn’t have told you that. What else? I get up in the middle of the night, every night of the week, I will get up between 2 and 5 in the morning and semi conscious go down to the kitchen and feast. Wake up chocolate all over me and biscuits on the floor. It’s a scary.

For Hatcha DJ bookings contact opa@wma.com
www.myspace.com/djhatcha
Catch Hatcha on Kiss FM, Tuesday night/ Wed Morning from 1am-2pm.

Exclusive mix for ATM Magazine by Hatcha.
Download it here: ATM Mag Hatcha Mix *

* important note! You need to enter these 5 digits: 01482

Track by Track - -

Mala - Eyes
Brilliant track. Proper Deep Medi material, you can hear Mala sound in it perfectly. Lazer style synths with plenty of twisted soul; It was the perfect track to set the vibe for the mix.

Skream – Rollin
Brand new Skream biznezz. Not sure when this is coming out on as it’s a freshly cut dubplate. A good bouncy track with plenty of stomp to keep the mix moving.

Kutz – Freak
Right, time to get aggy and rough it up. Kutz brings the ruckus and starts putting on the pressure and heating up the heels.

Jakes – Justice
It’s not all about Croydon on this mix, and Jakes brings his Bristolian touch. This track is doing it for me at the moment.

Distance – Twilight
This is murdering the dancefloor. When I speak to Greg every couple of days and he says he’s gonna throw over another track, I think yes, coz I know it’s gonna be messy.

Jakes – 3K Lane VIP
This one is a nice little special for me. Another twist on a massive track, just giving it a new angle.

Distance – Menace
More Distance pressure with Menace. Distance is getting a lot of feedback right now, and I’m loving his metal sound. A massive dancefloor worker.

Benga – Transform
Stepping up the tempo on this one. Speaks for it self.

Chimpo – Pump Action
Chimpo is from Manchester and we’ve signed this for Sin City Recordings, so expect to see this out soon. Big tune.

Lost – Slaughtered
A Croydon young gun coming through. I met Lost through Kromestar, keep your eye on this guy.

Benga Vs Kutz – I’ll Kut Ya
This one is tearing through the crowds at the moment. Wicked collaboration.

Benga vs Distance – Untitled
Bangin track, I’ve been playing this for months on dubplate. It goes off!

Benga – He He He
Good little bubbler that really comes into it’s own on a big system. You can hear the typical Benga sound on this one.

Coki – The Shizbiz
Coki Madness! Welcome to Coki’s mad little world. You can’t listen to this shit on a walkman!

Skream – Metal Mouth
A nasty, brutal peak time monster that will getting every set of feet moving on any dancefloor, anywhere.

Jakes – Rock The Bells
Again, this one blowing up the dancefloor. Sampling some old hip hop records to maximum effect. Killer.

Proxy - Dancin in the Dark

Blimey, not posted for a while. Better make ammends....

Benga said this was one of his current favourite tunes. Electro meets dubstep. BOOM!

Sub FM Monday 9th March 2009

Available on iTunes and Sub FM archive

The Dramatics – In The Rain (Volt)
J-88 – The Look of Love – JDilla remix (Groove Attack)
John Robinson – Don King (Fat Beats)
Lashley – Lash Beat (Unreleased)
Bullion – Time For Us All To Love (One Handed Music)
Wynd Chimes – Baby You’re The One (Lotus Land)
Michagan & Smiley – Diseases (Greensleeves)
Micky Simpson - Don’t Cry Version (Original Music)
Horsepower Productions – Damn It (Tempa)
2562 – Kontrol (Tectonic)
RSD – Kingfisher (Earwax)
Lo:Tek – Timewarp (Unreleased)
Skream – The Shinein (Deep Medi)
Synkro – Music Makers (Z-Audio)
Compound One – Get Loose (Compound One)
Joe – Rut (Hessle Audio)
Guido – Orchestral Lab (Punch Drunk)
Gemmy – Wata Down Sound (Unreleased)
Joker – Digidesign (Hyperdub)
Reso & ID – Shifty (Civil)
Cluekid – Soul Vibe (White)
L Wiz – Prayer Room (Red Volume)
Untold – Dante (Hotflush)
Ramadanman – Revenue (2nd Drop)
Fantastic Mr Fox – Plimsoul (Hemlock)
Zinc – Submarine (Bingo)
Shed – Warped Minds (Ostgut Tonträger)

Run Dem Crew running mix

I created a special studio mix for Run Dem Crew. Inspired by the LCD Soundsystem creation for Nike, i wanted to get as near to the 'perfect' running track length as possible and just about managed it.

So, download it, sync it to your ipod and getting running!

http://www.divshare.com/download/6715381-ae3

Run Dem Crew special 2nd Drop Dubstep mix

Ramadanman – Good Feelin (2nd Drop)
23hz & Numaestro – Zumo (2nd Drop)
Natural Marcus – Talks of the Prejudiced - Clouds Version (2nd Drop)
DLX – Matter of Facts – Breakage’s Relatively Speaking Remix (Smog)
LD – Green Ranger (2nd Drop)
TRG – Broken Heart – Martyn’s DCM Remix (Hessle Audio)
Skream – Percression (Tectonic)
JKenzo – Conqueror (2nd Drop)
Cotti ft Jammer & Mr Party – Dem Fi Know (Argon)
Sully – Heartbeat (Mugwell Bill)
Desto - Cold (Unreleased)

Mix length = 46.14 mins

DJ Magazine Dubstep reviewer

I'm pleased to announce that DJ Magazine have asked me to take over their dubstep reviews page. I have my first page of reviews in the world renowned publication from March 09. I'll let you know when they are up on the website right here!

Zoop zoup!

New 2nd Drop - 23hz & Numaestro - Zumo

Hot off the heals (well for us anyway) of LD's Green Ranger 12", comes the ex-pat Barca crew, 23Hz & Numaestro (aka Relocate).

Skream (Tempa/ Rinse FM) - “Two deep bombs”
Breakage (Digital Soundbwoy) - “Zumo’s got a wicked vibe to it. BAD!”
Bunzer0 (Sub FM) - “I love them!”

DJ support includes Sully (2nd Drop), Atki2 (Werk), Dave Q (Dubwar), Phillip Sherburne (Pitchfork/ Wire), Furiouz (Sub FM) and Rob Da Bank (Radio One)

Like many legendary duo’s - Ike and Tina, Torvil and Dean, Hue and Cry - the chemistry is all-important. And for 23hz & Numaestro it’s no different. The ex pat Barcelona residents are a blend of super techy engineer (23hz) with experienced DJ (Numaestro) whose joint musical journey has mutated through hip hop, soul, drum and bass and techno, into dubstep via UKG and the early sounds of Groove Chronicles, EL-B and Horsepower, is precisely what gives their sound its probing and hypnotic quality. This their third dubstep release, after previous tracks on Bristol based Immerse and as their alter-ego Relocate, Zumo and Fantasmas is already getting props from key players in 2009.

Zumo kicks off the A side, a wailing banshee impregnated with a filter-bomb, rides atop a bulging sub and pulsing electro refrain which nags and rolls with hypnotic effect, a tell tale sign of the duo’s production style. It’s not all about bangers! And these guys know how to develop a mood and pocket of rhythm up their with Digital Mystikz.

Fantasmas on the flip is a bassbin destroyer! The phrase “how low can you go” should have originated from this track. A bouncing bassline that could have been stolen from a grotty jungle record dominates, accompanied by a haunting Mediterranean-infused vocal refrain.

As always, 2nd Drop commission some fresh and totally bespoke artwork, with this release designed by Portuguese illustrator, Uiu

The Roots of El-B

Whilst writing my review of the new Roots of El-B compilation forthcoming on Tempa (see below), I was researching El-B interviews and facts and came across this 2001 interview by Kode 9 on his Hyperdub website and reproduced on the Riddim.ca website

A particular sentence struck me.....

K9: "Do you still check drum'n'bass?"
El-B: "Yeah, I still have love, particularly if it's not amen stuff. I've never liked the way that sounded on club systems. I like the separates. I like the low frequencies of a bass kick, the mid of a snare and the high frequencies of the high hats. I think the only reason that the amen is coming back is because they know it is selling to the students."

It just resonated with what is happening to the dubstep sound right now. The preponderance for grotty, jump up, mid range noise-core, which in my mind takes the place of the 'Amen stuff' that El-B cites. And this trend is catalyzed and propelled by the new crowds that come to dubstep everyday.

At the risk of sounding like a reactionary, some of this stuff is effective, but to the detriment of everything else.....?

Anyway....the review:

El-B – Roots of El-B (Tempa)
Following on from the Roots of Dubstep also compiled by Martin Clark aka Blackdown and Ammunition (peeps behind FWD and Tempa), the next installment is from a true pioneer of the sound, pretty much the most important figure who pushed the dark garage sound in the early 2000’s which came to provide the blueprint for, and then mutate into, the sound we know as dubstep. Those new to El-B or indeed unaware of his music and the nascent scene populated by the likes of Zed Bias, Oris Jay and Groove Chronicles (who El-B engineered for) will hopefully be able to make the connection with it’s evolved brother, dubstep, with it’s stripped down aesthetic, dependency on heavy basslines and moody, esoteric vibes. Indeed, even though the half step and wobble motifs dominated 2006-2007, 2008 and 2009 has and will see the resurgence and deeper excavation of this swing based 2-step form. The likes of Burial, TRG, Martyn and Sully are already pushing these sounds into new territories. Therefore this collection couldn’t have come at a better time. I’ve no real need to go into detail on each track. This is essential music history for those that missed it the first time round, and a neat aggregate of the classic vinyl tracks gathering dust for those who were.

Martyn Album Launch

Martyn's Great Lengths album party....Gonna be silly.

Roll call!!!

From the album expect 12 new tracks plus his previously release single Vancouver and Natural Selection making up the rest. There is a killer collob with Space Ape, which is a particular highlight for me, but expect an expansive sonic tapestry from Great Lengths...definitely an album that pushes and probes boundaries.

Awesome art by Erosie as standard!

Markle 12/01/09 on Sub FM

Download here > http://www.subfm.com/archive/Markle12Jan09SubFM.mp3

Mount Kimbe – William (Forthcoming Hotflush)
Khan of Finland – Favour After Favour (I’m Single)
Jhardan Blakmoore – Varela (Dutty Artz)
Diamond Ice – Karats (Metatronix)
Harmonic 313 – Falling Away (Warp)
Elliot Lipp – Fever (Metatronix)
Craig Mack – Flava in Ya Ear (Bad Boy)
Tuff Crew – So Damn Hot (Warlock Records)
Reggie Steppa – Drum Pan Sound (Steely & Clevie)
Conroy Smith – Dangerous (Redman Int)
Radikal Guru – Kingston Town (White)
Natural Marcus – Talks of the Prejudiced - Clouds Version (2nd Drop)
Mungo’s Hi Fi – Dubplate Fi Dem (Forthcoming Scotch Bonnet)
Starkey – Pyramid Scheme (Unreleased)
Ashburner – Dub Coma (Forthcoming on For The Kids)
Mala – Miracles (Deep Medi Musik)
Ramadanman – Revenue (Forthcoming 2nd Drop)
23Hz & Numaestro – Zumo (Forthcoming 2nd Drop)
Charlie Dark – Messing Around (Unreleased)
Geeneus – Darkside (Soulja)
Groove Chronicles – Masterplan (DPR)
Skream – If You Know (Tempa)
Shortstuff – Low Talk (Unreleased)
Funk Ethics – Dub Fluid (Unreleased)
Ramadanman – Humber (Forthcoming Applepips)
Andy Stott – Bad Landing (Modern Love)
LV ft Erroll Bellot – Don’t Judge (Forthcoming 2nd Drop)

LD Interview

Not to be confused with EL-B or Hyperdub label mate LV, Leon Day aka LD is very much his own man, with very much his own sound. Ever since the scattering Swing Dat Skirt really made heads sit up and listen, Leon has been diligently developing his production skills, most impressively in between a full time job at dubstep’s revered mastering studio Transition Mastering. And it takes a certain caliber of person to keep their head when their debut dubstep gig is not only at the mother of all dubstep nights, DMZ, but also on their 2nd birthday party (March 2007), “I had to pull myself together and be like, ‘right this is my chance, I can’t miss it’”, he says. “I saw the line up and it made it worse”. Playing alongside Kode 9, Skream, Hatcha, Benga and Plastician, LD showed little fear, opening with one of the most insane mixes of the night, still talked about in dubstep circles now - the intro of Benga and Walsh’s Panic Room was building to the drop and at that exact moment LD switches the mix into Flames by Benga as it reaches its first drop. The place erupted, and the rest is history. Now with well received releases on established labels such as Dub Police, Subway and 2nd Drop, a killer remix of the funky house classic Do You Mind by Kyla, and imminent releases on Ringo and the seminal Hyperdub, the 24-year-old Peckham lad is all set up to make 2009 his year. Mark Gurney managed to pin him down to get his views on his unique sound, high profile collaborations and how Transition is his dream job.


You have a wide palate of sounds in your music. Agile, percussive, even tribal I can here many influences oozing from your productions. You have one of the most rhythmical styles out there, do you feel you are carving out your own sound?

I love rhythmical patterns and organic sounds (wood's, birds, rain, etc), I love music with emotion, soul and swing especially when it is more up tempo - I wouldn't say that I'm carving out my own sound, I'm simply sharing my vision of how I think Dubstep should be and hopefully people like my view on the music too.

It's been great to hear your full range from the future soca dub of your remix of Sully's Give Me Up on 2nd Drop Records, to the monster technoid raspings of Bad coming soon on Hyperdub, you seem to move between light and dark with ease. How is this translating on the dancefloor?

I have a simplistic view when I make music. I just go into the studio and what ever comes out comes out. On a day when I am happy I will write a bubbly song, however, on a day when I am angry I would write a darker aggressive song. With the variation of feelings in my music it enables me to take people on a journey when I am DJing. I play a lot of my tracks along with other producers in the scene, I have had a lot of good feedback from my DJ sets so I guess the movement between dark and light is working well.

The collaborations with Benga, Kode9 and Cluekid are all great in the way your personality still shines through, and it sounds more like you have the dominant sound which is quite something considering the partners. Can we get an insight into the collaborative process? Are they all very different?

I really enjoy collaborating. So far the tracks I have done which are collabs have been going down well. All of the other producers have been open minded and easy to work with. There is a good energy when we work together and the second opinion from someone who is as passionate about sound adds another dimension to the music. I think my suggestions have been relevant whilst making these tracks, which is why my personality comes through.

Benga has a vast knowledge of production and is very talented in his ability to make his music sound 3D (Big, wide etc). Benga is definitely the most creative and inventive producer I have worked with. I feel my collab with Benga is techno based but with a hint of rawness in it.

Clue Kid has early jungle influences in his sound, which I was heavily into in the 90's and early 2000's - so I was interested in what we could do. His sound is quite different to mine; he has a raw/darker element to his production - the fusion of dark and light worked as if it was ying and yang. Clue brought a new dimension to my rhythmic style with a unique ability to reprogram jungle brakes so that they sound authentic at a slower tempo. He would then add additional hits in key places to change the groove of the jungle brake. He also has a different technique for creating bass sounds, he is very good at creating them from scratch using sine and square waves with a bit of compression and distortion to add some grit to the sound.

Kode 9 is an old school producer; he has some analog outboard equipment (which is right up my street) that sound incredible. The synth sound in Bad is an example of quality analog gear sounding at its best, for me that is what makes the track "bad". He, like myself, pays a lot of attention to detail, which is something that I admire. I was continuously impressed with his input in the tracks we made. He sometimes had different ideas to me but we were heading in the same direction, which is why I feel this track worked.

Even though dubplate culture is still strong, do you see digital and CD taking over in the future?

The only way that I can see digital mediums over taking analog is if digital technology can create an analog sound or if producers/Dj's no longer want an analog sound. I have recently done an article for Martin Clark that has a lot more detail on this matter.

http://www.pitchforkmedia.com/node/144602

Have you been able to find more time to produce or is mastering still taking precedence?

At the moment I have one day a week to produce so I make sure I use my time wisely. This suits me because I am naturally lazy so it insures that I use my time effectively not playing PES 2008 all day on my day off.

How did you managed to hook up the excellent remix of Kyla's Do You Mind, a massive funky house record that has been banging that scene for the past year?

I have known Paleface and Flukes for a long time. They were asking some people to do remixes of it for a remix release on Northern Line records, Paleface asked me to do one so I did. I was not sure how a full singing vocal dubstep track would go down but it seems to be going well. I am glad it’s doing well because I think Kyla has a good voice and this track is due out before the new year.

And your remix of Skream's 0800 dub has been tearing the arse out of every sound system it graces. You just nailed the vibe right there, bringing a classic right into the now. How did that come about?

Skream came down to cut some dubs a while back and I asked him to give me some parts to one of his tracks and he gave me that one.

With the release of more LD music, comes more gigs and DJ dates. How are you finding the crowds outside of London? Is there more demand for your time?

There is a much better atmosphere in clubs outside of London excluding a few. One of my best gigs lately was in Bristol (Monster Bass @ the Black Swan). People really enjoyed themselves and the feedback from the crowd made me play even better. There are a lot of international gigs that I have played at that have a similar appreciation for the music. Hopefully the momentum of dubstep continues.

How has your time at Transition helped develop/ influence your sound?

Working at transition is a dream job for me. I get to hear a lot of different music which all influences me in different ways. My boss Jason Goz has I high standard when handling music - this high standard has rubbed off on me in many different ways. Transition has also given me a critical ear, so things that are not so important are now very important e.g. insuring there is audio balance in the track (not to much of any frequency), insuring attack and release times of drums and synths are tight or loose depending on the objective, fine tuning sounds for desired feel etc. There is also a lot of friendly competition, as it is the place where most dubstep people cut their records. This means that when Skream for example makes a new tune, which I think is sick, I try to make a tune that can compete.

Myspace - www.myspace.com/transitionld