Markle Said Wha?

DJ Magazine reviews issue 501 - Sept 2011

2011-09-19T22:35:00.017+01:00

My September 2011 reviews for DJ Magazine.

King Midas Sound
Earth A Kills Ya - Mala Remix (Hyperdub)
This has a Kuedo remix of of KMS's 'Goodbye Girl' on the A-side, which is nice, but essentially unremarkable. Toss it over and you'll find a much richer province. Mala, one half of the legendary Digital Mystikz and owner of Deep Medi, opens up the guts of the tune and yanks out the meaty organs leaving the essentials for life: heavy dread vibes dialled down further into a steppah's funeral march.
8/10

District
Haymaker (Chestplate)
Bowling in from the Midlands comes a new face with a heritage sound. It's no wonder Distance picked this up for his label, these three tracks could easily be a shared 12-inch from himself and Cyrus. As Youngsta, Tunnidge and Jack Sparrow are all supporting this, you'll get the sound architecture right away: icy, overcast and mordant angles that only really strike a chord when your head's fuzzy with weed and buried in the scoops.
6/10

Teeth
Swarm/Shift/Sequence/Spawn (Ramp)
Yes, that is the title and confusingly not the title of the four tracks on this EP. So, with that cleared up, let's pop the surgical gloves on and get up to our elbows in this new offering by Mr Teeth from Helsinki. If you stitched the tracks together they would make a nice little quartet, as 'Frequencies' and 'OJ' build layers of drums, 'SW' flips the light switch with rays of blinding synth work and '19eme' is all washy emo mulch.
7/10

Admiral Bailey
Jump Up (Terror Danjah Remix) (Greensleeves)
The last few remixes of the Greensleeves catalogue have been OK, but not overly scintillating. Here a dancehall legend gets treatment from the grime overlord to great effect. A profusion of beat patterns fly abound un-tethered and often at odds in true dancehall style: a Mala-esque bassline, replaced by a pastiche hardcore Amen, betwixt a funky poke for a truly bashment experience. Shame the dub doesn't go to town on the effects, but otherwise pretty damn ire.
7.5/10

Instra:mental/Trevino
Pyramid/Chip (3024)
As if it is a dirty, hellish peculiarity, the 3024 label announce their first split 12-inch. Wait! Has the world ended? The harpies flown from the cracks of Dante's Inferno? Nope. Good, carry on. Gracing us on the A is that pesky duo Instra:mental who have clearly missed each other on their solo pursuits as Boddika and Jon Convex and now nuzzle, reunited, to produce this electroid, clemently acidic arpeggio beasty. Some chap called Trevino pops in further electro nostalgia on the flip.
6.5/10

Yogi feat Ayah Marar
Follow U (Ministry Of Sound)
Oooooh, big vocal dubstep. What a fuckin' anthem. And you know it's really good when the label gets five remixes made. Trolley Snatcha doesn't hold back on the stadium-esque vibes, as emo as a gaggle of lanky bi-polar goths. Xilent clearly got the same brief as Mr Snatcha: nice, sensible radio-friendly dubstep. But before I fetch the rope, Submerse and Mike Delinquent chip in something remotely interesting … but not quite.
3/10

Pritch & Trim
Stereotype (Planet Mu)
I nearly wet myself when I saw this pairing of beatsmith extraordinaire Mark Pritchard and probably East London's finest MC, Trim. And whilst the quality of delivery from both is unquestionable, I find myself a little disappointed when listening to it. 'Stereotype' sounds too flippant and 'Kiss My Arse' a little vulgar. These two are both at their best when they're working in darker corners of their subconscious.
6/10

Cyrus
Visions (Deep Medi)
Never one to get swept up in the trends or pressures of modern day dubstep, Cyrus stoically continues to plough his own field in straight, symmetrical and tidy lines churning out uncompromising music. On 'Visions' the magic is in the subtle detail, counterpoint percussion intertwines with the subtlest of smokey whispers and an insistently pulsing bassline. Minimal dubstep doesn't sound much purer than this. 'The Calling' is slightly more pedestrian, but still offers plenty for those who like to listen a bit deeper.
7/10

Damu
Ridin EP (Keysound)
I like the fact that Damu fills his music with so much colour. Every track on the EP explodes with its own rainbow personality.
7/10

Akira Kiteshi
Transmission (Afterglo)
The last thing I heard from AK was very blunt wonky dubstep. Now it sounds like they have discovered girls and started making cool, mildly syncopated, melodic-type stuff you can actually dance to… to get in their pants, I expect.
6/10

Jack Stat
Acid Step (Lucky Break)
This grotty little rodent of muted dubstep aggression gets chased around the house by Afghan Headspin, who tries to bash it with a two-foot dildo - the remix violated it, and me!
4/10

Sarah Williams White
Hide The Cracks (Minds On Fire)
This has the classic hallmarks of a bored producer knocking out a 'dubstep' remix for some non-descript vocal track. Very average.
5/10

DJ Magazine reviews issue 500

2011-08-25T23:17:00.012+01:00

I've not been blogging here lately due to work commitments and running the label. But I will start popping up my reviews page from DJ Magazine on a monthly basis at the very least! Music forward>>

Martyn
Masks (Brainfeeder)
The Dutch rascal who dwells in the USA is one of the most successful artists to cross genres and scenes with seamless finesse, outgrowing each of them at their peak and opting to forge new paths with pioneering fearlessness. This single drops well ahead of his second album 'Ghost People' (out in October), and barely moves the goal-posts, but 'Masks' is still a cracking fragment of angular bass music that needs to be owned.
8/10

Deco and Linker
Verus (Deceast)
The fourth release on this Californian imprint comes from label honcho Deco and fellow West Coast hombre Linker, and boy can you hear the Cali heat oozing from these two. If Dr Dre had G-funk, then these two have dub-funk: check 'Greenthumb Funk' for some seriously purple vibes similar to Silkie and Quest. On the A-side, 'Verus' locks a tight riddim and rocks out a decaying technoid half-step flex, a very tidy affair.
8/10

Daedelus
Overwhelmed EP (Ninja Tune)
Since the good ole days of his equaled "crunchier than a mouthful of glass and gravel" hip-hop, to the past couple of years where it has meant a very skewed take on psychedelic electronica, Daedelus's inventiveness and character has always shone through. This remix package welcomes three soldiers of fortune in the guise of Manchester's Star Slinger, London's Raffertie and New York's Sepalcure for a confection of bass-laden treats.
7/10

Illskillz
Fire Everyday feat Dub FX (Illskillz)
Drum and bass stalwarts DKay and Rawfull, aka Illskillz, offer up a triplet of dubstep tunes before their new album drops this summer, just to prove they can mix it up with the best of 'em. 'Gold Streams' and 'Memorizer' are both piss-weak efforts, leaving 'Fire Everyday' to mop up the effluence, luckily avoiding the emo-stained melodies for balls out beats and a bassline that punches the wind from your chest.
5/10

Damu
Mermaid (Local Action)
The sixth release on the Local Action label sees Mancunian new boy Damu get his first pair of long trousers with a snug four-track EP featuring three originals and one zeitgeist-channeling Juke remix from the legends of Baltimore, Rashad and Earl. But before we get too erect, let's saunter back to the rather heady 'Mermaid', which sounds like classic broken beat with a dose of nitrous-boosted euphoria, a very pleasant conclusion to an evening's waltzing.
7.5/10

Saint Rider
D.A.T. (Section 8)
As always, a number of these records start off in a promising manner and 'D.A.T.' is no exception; washy synth lines, a few stabby piano-esque bits and a smattering of nifty claps build up to a frankly slag-infested drop. I have no doubt this goes off in the "rave" and sweaty teenagers from across the world are losing their small, underdeveloped minds to it, but it just pummeled me into a spiraling abyss of despair because of its obvious lack of originality.
4/10

Aquasky
You Take Me There (Passenger)
If you were a joyriding, feckless little teenage shite tearing around council estates in less salubrious parts of Berkshire 19 years ago, then you'll probably also remember when massive gurn-inducing piano riffs dominated the (pirate) airwaves, and rave flyers promised never-ending psychedelic blow-jobs in a smiley-faced hinterland. Yes, Aquasky capture 1992 with aplomb, only for Cutline to take it by the greasy ponytail and slap its slack-jawed chops with a dubstep back-hander. Irritatingly infectious.
6.5/10

Clouds
Lots Of Calls From No One Part 2 (Deep Medi)
Flying well under the radar for some time now, the reclusive Finnish duo have popped one or two bits out over the past few years, but are far from prolific. Thankfully this can be forgiven, as they have clearly shut themselves away in a dusty, vinyl-filled basement wigging out to Dilla and Davis whilst imbibing chronic quantities of cheeba cheeba. Please buy this two-tracker as it will take you to delicately fuzzy and moodily whimsical places.
8/10

Quickies

Ak0pian
Waterfoul (Echodub)
A syrupy four-track EP from the Italian producer who explores blessed out dub with syncopated techno aesthetics.
6/10

Gerry Read
Untitled (Fourth Wave)
A bright talent, this Home Counties lad is a prolific producer and is banging out raw, unadulterated house music with a hollow tip edge. Keep an eye on this one.
8/10

Tallullah
Colourblind (Transducer Records)
Did someone put the wheels back on my tricycle wonky? That's exactly what Actress does to 'Colourblind', expect spasmodic electronica with high levels of umami.
7.5/10

2 Bit Thugs
Keep The Faith EP (Corrupt Music)
Terrible name, but boy do they make brilliantly nostalgic (2-step) garage/house music to shake your fillings out. Pop this on, get loaded and have a good time.
7/10

2nd Drop 010 - Duncan Powell - Pushing

2010-05-08T23:56:00.008+01:00

2nd Drop Records is proud to present its tenth release!

Duncan Powell
A. Pushing
B. Pushing - Falty DL Remix
2ndrp12010

Vinyl> out Late May 2010
Digital> out mid June 2010

An underground legend with releases on MJ Cole's personal label, Profile, Reading lad Duncan Powell offers a classic slice of, as Jackmaster (Wireblock/ Numbers) described it, James Bond Step. A big string laden anthem, Pushing was originally given away as part of a free EP on Duncan's blog. But much like Ramadanman's Good Feelin record which they also saved from the same fate, 2nd Drop Records believed that it was too good to be a freebie and pressed it up onto vinyl.

A gold mine of musical elements, Pushing was ripe for the remix treatment and as Falty DL was a big fan of the original, and 2nd Drop being a big fan of him, they set him to work stripping back the cacophony of melody transforming Pushing into a dark, broken 2-step swing with flashes of vocals and strings to awesome effect.

Played and supported by Modeselektor, Peveralist, Diplo, Sinbad, Desto, Mary Anne Hobb among others.

The guest illustrator on this release is Audrey Rogers, a fine artist/ illustrator with a visual style which quickly resonated with the 2nd Drop guys and fitted nicely with the 12" format. Her excellent work can be found here

'Pushin' - Duncan Powell by 2ndDropRecords

Pushin'- FaltyDL Remix by 2ndDropRecords

Rebel Skankin with Headhunter Tonight!

2010-02-19T15:11:00.002Z

Better late than never retrospective top ten

2010-01-23T20:04:00.002Z

I know it's nearly the end of Jan 2010, but had to drop my big tunes of 2009. Just wanted the dust to settle and the mind to clear before I dropped this.

Singles

Darkstar – Aide Girl’s Computer (Hyperdub)
James Blake – Air and the Lack Of (Hemlock)
Ramadanman – Revenue – Untold Remix (2nd Drop)
Hard House Banton – Reign (Spoilt Rotten)
Joy Orbison – Hyph Mngo (Hotflush)
ScratchaDVA – God Made Me Phunky (Fantastic 4)
Mount Kimbe – 50 Mile View (Hotflush)
Headhunter – Prototype (Modeselktor’s Broken Handbrake Remix) (Tempa)
Joker – DigiDesign (Hyperdub)
Blue Daisy – Space-Ex (Black Acre)

Albums

The XX – The XX (Young Turks)
Falty DL – Bravery (Planet Mu)
Dam Funk – Toeachizown (Stones Throw)
Various Artists - Hyperdub 5 (Hyperdub)
Silkie – City Limits (Deep Medi Musik)
Hudson Mohawke – Polyfolk Dance (Warp)
Peveralist – Jarvik Mindstate (Punch Drunk)
Starkey – Ephemeral Exhibits (Planet Mu)
Kind Midas Sound - Waiting For You (Hyperdub)

Revisited album of the year:
Augustus Pablo - King Tubby Meets Rockers Uptown (Clocktower Records)

Jan 2010 Dubstep Reviews in DJ Magazine

2010-01-06T20:36:00.006Z

My dubstep reviews in DJ Magazine, January 2010

http://bit.ly/3C8Ymv

You need to hear this

2009-12-19T01:48:00.002Z

The definitive version for me.

New 2nd Drop - J:Kenzo & LD

2009-12-15T23:07:00.003Z

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

2009-11-25T23:56:00.002Z

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)

2009-11-09T16:37:00.002Z

You know it's real!

We Wah Ten @ Scala

2009-10-20T14:08:00.004+01:00

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

2009-10-16T13:12:00.001+01:00

Ghostvillage from Agents Of Change on Vimeo.

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

2009-10-11T20:14:00.004+01:00

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

2009-10-07T14:25:00.004+01:00

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

2009-09-29T22:44:00.004+01:00

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!

2009-08-25T22:49:00.003+01:00

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

2009-07-30T21:57:00.003+01:00

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

2009-07-18T15:14:00.003+01:00

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

2009-07-01T10:16:00.004+01:00

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

2009-06-03T22:21:00.004+01:00

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

2009-05-07T15:44:00.006+01:00

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

2009-04-22T22:47:00.001+01:00

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!!!

2009-04-08T20:19:00.001+01:00

Hatcha interview & Mix

2009-04-06T22:20:00.004+01:00

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

2009-04-06T21:00:00.003+01:00

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

2009-03-15T15:56:00.001Z

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

2009-03-13T17:22:00.002Z

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

2009-03-01T14:10:00.003Z

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

2009-02-21T19:19:00.000Z

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

2009-02-12T23:11:00.004Z

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

2009-02-02T12:32:00.006Z

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

2009-01-20T17:22:00.003Z

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

2009-01-12T14:31:00.003Z

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

Starkey Interview

2008-12-14T18:55:00.002Z

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

2008-12-10T14:14:00.001Z

The new craze?

Chargin up the Fiddy pon the tip!

Rough showing his bits

2008-12-10T10:46:00.004Z

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

2008-12-06T14:04:00.003Z

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

2008-12-04T16:59:00.003Z

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

2008-11-28T10:08:00.003Z

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!

2008-11-20T20:19:00.000Z

One shot bizness...

Skream!

2008-11-06T21:46:00.004Z

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!

2008-11-06T21:31:00.001Z

Markle on Sub FM 20th Oct 08

2008-10-29T15:17:00.001Z

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

2008-10-07T22:57:00.003+01:00

(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

2008-10-06T13:35:00.004+01:00

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!!!

2008-10-03T17:56:00.001+01:00

The one the only JAMIE WOON

Cotti Interview

2008-10-02T21:08:00.003+01:00

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

2008-09-12T15:27:00.003+01:00

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

2008-09-01T23:12:00.000+01:00

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

2008-08-21T10:56:00.000+01:00

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

2008-08-19T13:12:00.000+01:00

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!!

2008-08-17T18:02:00.000+01:00

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)

2008-08-15T09:21:00.000+01:00

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

2008-08-13T12:06:00.000+01:00

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

2008-07-19T20:21:00.000+01:00

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

2008-07-05T19:46:00.000+01:00

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

2008-07-05T14:57:00.002+01:00

^^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

2008-07-05T14:57:00.001+01:00

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

2008-06-27T17:41:00.000+01:00

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

2008-06-13T09:29:00.000+01:00

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

2008-06-09T17:09:00.000+01:00

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

2008-06-09T12:20:00.001+01:00

Sick sick siiiiiiiick

2008-05-30T11:31:00.001+01:00

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!!!

2008-05-22T22:30:00.000+01:00

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

There!!!

Diesel U Music Radio

2008-05-21T22:36:00.000+01:00

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!!!!

2008-05-16T15:05:00.000+01:00

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

2008-05-15T22:41:00.000+01:00

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

2008-05-06T13:40:00.000+01:00

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
---
This interview is also published in ATM Magazine and on www.3barfire.com

Kontakt!!!

2008-04-23T19:27:00.000+01:00

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"

2008-04-20T18:59:00.000+01:00

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!

2008-04-16T22:00:00.000+01:00

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!

2008-04-12T10:00:00.001+01:00

What a voice!

April 08 Top Ten

2008-04-11T18:56:00.000+01:00

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!

DOA - Norwich party vibes!

2008-04-04T21:00:00.000+01:00

Skankin crew!

It's the day after the night before, and i'm tired, hungover and still buzzin from playing at DOA, Mustard Lounge, Norwich with Mala (DMZ), Sully and Innasekt. Managed to hear my new dubs of Skream, LD, Rusko, Clouds, Twisted and Sully on a reasonably decent system, which is always a blessing. Not having to play CDs was a joy!

The venue was probably just over half full (the Easter holidays don't help these things, especially when the most open minded crowd hail from the student quarters), but the vibes were in serious quantity. Everyone there was having it. I opened with Dead Prez's Hip Hop which makes perfect sense in a dubstep set. Mala subsequently opened his set with Witness by Roots Manuva, another stone-cold bassconductor. Got a rewind standardly. Then the DMZ head honcho went deep medi and played dub after dub of his truly unique style - no one makes tunes like Mala. Fact. The subs cut out a few times from the barrage of bass - heavyweight. And the only place you are likely to hear his selection is in the dance, where it should be. Sully finished off the night showcasing his stylistic range, from the ravetastic Give Me Up to his dubstep refix of boogie classic Heartbeat. A talent to watch.

Big up to Alec DOA for inviting me to play and looking after me. Top lad with some super cool and friendly mates. And special big up to Scandal for getting out of bed to support. A double zoop straight out to you...Zoop! Zoop!

March/ April 08 - 3 Bar Fiya Column

2008-03-29T14:41:00.000Z

Originally posted on http://www.3barfire.com/

Whilst in the midst of interviewing the rusty spooned technoid infusionist 2562 in anticipation of his debut album on Tectonic, to a rather sick soundtrack (the LP sampler of Dread Techno and Enforcers - more hypnotically twisted, pulsating riddims folks!), I have been inundated with so much quality bass heavy music it’s frankly mind-boggling. Who needs the wank-glam of Miami and sweat pit of SXSW! It’s all about my internet party…hmmnn.

So, let's delve into the dark moist pit of sonic tendrils sitting in my box right now.

Stamping an Air Force One footprint firmly on the dubstep world right now is Cotti. A number of shhh bootlegs shhh, including the huge I Don’t Give A Dub has catapulted this ex grime producer into the limelight. Soul Jazz have just put out three more of his tracks on a white featuring the excellent The Search. But, it has been his collob with Doctor and Jammer that have pushed him ahead of the crowd. Calm Down ft Doctor is next level, brush ya shoulder off badness, which shows the rest of the scene that dubstep doesn’t have to be bootleg accapella rip offs.

Caspa and Rusko are busy bees. Caspa’s Ave It Vol 2 is out on limited TP at the moment, the usual blend of tomfoolery and face scrunching beats, for those that have missed, cop the finished vinyl for the top quality artwork. Wing man Rusko has just featured a mix on Mary Anne Hobbs Radio One show called Cockney Knee’s Up, featuring a slew of new riddims including the party killer Soundguy Is My Target ft Lutan Fyah (although there was word of a possible alternative vocal with Roddy Azlan, so keep em peeled).

I’ve got my mits on some brand new 12th Planet bits, including the Howard Marks toasting special Untitled 65, which aside from the celebrity endorsement is a killer slice of Future Soca dubstep. Big up to Ez E and all the Subconscious crew.

West London imprint Art Recordings are continuing to push new artists with the excellent Fused Forces and their forthcoming Safety Catch Ep with three standout tracks laced with rootical spices –Total Dub, Creation Dub and Rainforest – do the do for me.

Not sure what it is they are putting in the moonshine in Finland, but bwoy! Things are popping off. Tes La Rok’s Noppa Records is pushing some lovely sounds, none better than the superb Desto and his low slung beauty Cold, a mass of ambient flourishes and rumbling basslines. Tes is also moving away form his former aggy, ‘pint glass in the face style’ sounds, in favour of a more deep medi vibe. A good thing in my opinion. Clouds’s monumental Under the Dancing Feet is out this week on US label Argon, the biggest female vocal dubstep track yet, I can’t believe this isn’t getting playlisted on Radio One! You lazy tax payola gits!!!

A quick run through of other key releases causing heat on dubstep dancefloors, forums and radio shows right now: Vista’s Lounge Dub is a filtered mutant blend, like a NY house jazz band smacked out on gunpowder and LSD, forthcoming on 3.5 Records. Emalkay’s new 12” My Story on Boka is a rollicking beast, with a rather naughty sample that works marvellously. Moody Boyz and Lee ‘Scratch’ Perry have crossed echo units for a dubstep reworking of Lee’s new material hunt this one down along with the rather bouncy remix of Erykah Badu’s promotional 7” of Honey, sweet. A quick shameless plug for 2nd Drop Records and the new single features Twisted (Dutty Dubz) and Sully Shanks on opposing sides with some rather wicked label artwork by Brum illustrator Phill Blake , go cop dat, err, as they say. The terminator like Hotflush, who keep churning out release after release every month deliver Scuba’s frankly amazing album A Mutual Antipathy out in a few days as well as the next 12” from Romania’s finest/ only dubstep export TRG who teams up with the US’s Dub-U for the crunchy Loosing Marbles which features another cerebral 2562 remix. Bad like Spam!

If the thought of dubstep anywhere but Mass, Corsica and Plastic People is like a vegetarian eating in one of London’s finest Aberdeen Steak Houses, then you may want to avoid Why Not? at Ministry of Sound on Friday 11th April for, and I quote, “Over 40 of dubstep’s finest”, you name it they’re playing. Not a pair of coke splattered sunglasses in sight….probably. Those in East Anglia, don’t forget to check out Mala (DMZ) playing at DOA , at the Mustard Lounge for a lesson in dubstep progression!. Further south is Bournemouth’s Bloc Control hosting Distance, Scuba and Scientist which is a killer line up! Northways, Futureproof fly over 2562 on 11th April for throbbing dread techno fun. Get involved!

A quick burfday shout to the lovely Kid Cazual – Happy Burfday bro! The freedom pass is only months away!

Left to right - tired Markle, Kid Cazual

Peas, Markle

Why Not?

2008-03-27T21:29:00.000Z

Gonna be large!!!

Interview with Benga the Afro Warrior

2008-03-20T12:48:00.000Z

WARRIOR CHARGE!!!

I meet afro topped production maverick Beni ‘Benga’ Adejumo in the lobby of a bitterly cold East Croydon station on a commuter packed Tuesday evening. He’s freezing his tits off. His stylish blue coat, colour coded with his sparkling BAPE trainers, is as thin as a plastic bag, “I had a photo shoot for Xlr8tr Magazine this afternoon with Skream, then recorded an interview and mix with Gilles Peterson for his Radio One show,” says the 21-year old Benga. “It’s been a long day. I’m freezing!” Thankfully, style over substance is not a quality prevalent on his eagerly awaited 2nd long player, Diary of an Afro Warrior; a cornucopia of disfigured melody and probing electronic hedonism.

Yet, before we delve into the wirey, sonic undergrowth of the album, we should really take a minute to observe the journey that matured and formed this musical prodigy. Before tinkling with midi keyboards, the Coulsdon, South London resident, was twinkling on the football pitch. Playing for Arsenal YTS, the young 12-year-old grew up in a footballing family, yet the inevitable choice between kicking ball and music was always clear, “my brother at that time was mad, saying things like, “You gotta stop doing one, music or football.” So, I picked music, coz I felt it more, I enjoyed it more. I could sit for days and days making music,” says Benga.

It was a combination of juvenile cheek and perfect timing that saw him get his first break. Experimenting at primary school with a stolen tape recorder, he began his first foray into working with music, “I would get this little tape recorder, hold it up to my stereo system and record and stop.” Recalls Benga, “Then put another tune on and create a dodgy mix.” The young innovator was soon buying drum and bass and garage records from Big Apple Records, even without his own pair of decks (when a friend got his first set up, Benga nailed the technique in just two weeks). Still just 12, his tender years marked him out from the rest. “They said to me, “Hey, you’re too young to be buying records, you’re wasting your money pal.” I was like, “I bet I can mix better than you.” They were like, “c’mon then.” So I clashed Hatcha (much laughter),” quips Benga. So impressed with his skills, Hatcha and then owner, John Kennedy, began to watch him DJ regularly, “I was playing some place down the road called Blue Anchor and John came in and said I can’t believe you’re tearing down the crowd and you’re only 12!” says Benga.

Playing alongside Hatcha introduced him to dubplate culture and the dark garage sounds of El-B, Benny Ill and Ghost. This was the catalyst for his own foray into production, “Hatcha would tear it up, he had so many tunes I couldn’t get, and that pissed me off. So the only way to get tunes like that was to make them myself,” recounts Benga. “I tried to imitate it, but where my sound wasn’t strong enough, the same with Skream, we’d come with some next level on it.” A style that producer Arthur Smith aka Artwork (who also worked at Big Apple) was keen to encourage, helping shape the acidic, proto dubstep textures that would soon see fruition on Big Apple Records as Skank in 2002.

Fast forward to January 2008, and I’m sitting opposite an accomplished and confident producer. A brief two year hiatus from 2004-2006 allowed Benga to indulge in some more lucrative music ventures, developing his production skills exponentially, that ultimately developed the sound and character we hear in his dubstep music today.

Yet techniques are merely tools of the trade. It is the vibrant creativity that impresses on Diary of an Afro Warrior; from the warm Detroit techno of Emotions, to the jazz licks of opener Zero M2 and B4 The Dual in contrast with the sheer uncontrollable electro filth of 26 Basslines and E Trips. What is more astounding is that Benga has never bought a Carl Craig 12” or listened to Pharaoh Saunders’ jazz and is not a massive music collector. “I’m not really the kind of sit down and listen to a certain type of music person. I just listen to whatever’s around,” says Benga. “I remember Arthur went out and bought me a bunch of CD’s, there was loads of old stuff. He bought me Chic, Stevie Wonder and loads of other old school things. That’s about it really, that’s the only time I’ve listen to whole albums.”

It’s clear that days spent hanging out his window with an aerial tuning into whatever pirate radio station was in range, had a profound effect on the young producer; absorbing jungle, hardcore and garage or “proper bangin, mad shit!” as he enthusiastically remembers, crackling through the airwaves. Whilst many producers heavily reference the past, overtly highlighting heroes, inspirations & icons, Benga is the opposite. Instead, like a super absorbent sponge, he seems to have unconsciously soaked up the musical energies buzzing through everyday life, all infusing and mutating within him, channelled back out through his own unique, organic compositions. “Arthur used to say, “You’re really natural at it. You kinda of listened to music when you were younger and get the influences now”; it all comes out when I’m making music,” states Benga.

In comparison with his first long player, 2006’s Newstep released on his own Benga Beats imprint - more a compilation of songs than a coherently structured long player – Diary of and Afro Warrior suggest a more experimental and expansive Benga, “I learnt a lot when I was making pop and house music, but I turn it on and off. It’s knowing how to use it in dubstep,” says Benga. The CD album is leaden with 14 tracks; club bangers, Night, Crunked Up and 28 Basslines, mix genially with more lyrical gambits, including the ambidextrous Loose Synths and off kilter wonk of 3 Minutes. Pleasure and Go Tell Them, proffer quirky vocals snippets, both manic and mysterious, perfect genre bending oddities. The house inflected Someone20 further challenges the dubstep envelope, clocking in around 120 bpm, yet retaining all the paraphernalia of a true Benga creation.

For those with a vinyl dependency, you’ll be in for an altogether different experience. Culling all but four of the CD tracks, yet adding five new ones, the triple plate vinyl LP is made simply and eloquently for the dance. “When you go to the vinyl it’s different, that’s for clubs. I genuinely believe that when I make tunes for clubs, it’s just dancefloor” states Benga. Gone are the accessible motifs, in come subsonic, angular creations like Twister, Metallic and Out of Phaze, more than enough to scare off the uninitiated, but plenty to make the hardcore drool.

Not many dancefloors have avoided the irresistibly catchy hook of Night, even in the Middle East, “Skream was playing in Israel and he phoned me up and said “listen to this”: a whole bus was singing the main riff of Night – do do do do do do dooo dooo doo doo do – it was mad!” Built with fellow producer Coki (one half of Digital Mystikz and the only collaboration on the album), it was a conscious upping of both producer’s games that led to its creation, “It was our third tune. We made World War 7 together, another tune called Full Throttle. They were mediocre. I’m not saying they were shit, but average tunes. We should be able to come up with something new. We kept coming up with melodies and riffs, but kept turning them down; it’s weird how the simplest thing worked so well,” recounts Benga.

Skream maybe Dubstep’s pin up boy, but Benga is fast stamping his indelible mark into the collective consciousness. Smashing seven shades of bass out of Pete Tong’s Essential Mix in early February, Benga also has recorded slots with a host of Radio One tastemakers; Gilles Peterson, Annie Mac and Rob Da Bank, and even receiving peak daytime spins from Jo Whiley, highlighting more than anything the reach and appeal of his music. Yet, these are rare chances to hear Benga on the radio, and for good reason. “People can over rinse it. When I’m playing out things are still fresh, I’ve a lot of tunes in my bag that I don’t think a lot of people have heard. So when I’m playing you think, “do I wanna come out?” It makes your mind up for you, simple,” says Benga.

If you do catch one of Benga’s electrifying DJ sets – a punishing dubplate journey through the outer reaches of dubstep, a fusion of techno, grime, jazz and electro, imploding into a hyper energetic wall of sound and sub – you’ll see his hair first and trainers second. Is he addicted to BAPE trainers? “Badly, baaadly,” he chuckles back. The reason resonates heavily with his music and desire to maintain individuality; “BAPE’s are exclusive, with only one pair in your size in Europe. You’d never come across the same person wearing the same ones. I’ve been ringing up BAPE every day this week because they have four new pairs out and I’m gonna buy every single one of them,” Benga confesses.

If you do draw your eyes away from his sub £160 trainers for a second, you;ll also notice a few familiar faces in the dance. Skream, Hijak, Walsh and other scene luminaries frequently support each other at gigs. Yet it has been Benga’s close friendship with Skream that has helped get both of them where they are today. “He is one of the ones who pushes my limits and I think I do the same to him,” admits Benga, “It’s no competition. It’s more the fact that I make a tune that’s big and he’ll want to make a tune better than that. It’s only healthy for us. It helps to keep you sane and grounded. Living in that world too much, you’ll start thinking you’re a super star.”

Diary of an Afro Warrior is out on Tempa in March 2008. For more info check – www.myspace.com/bengabeats

This interview is printed in the March issue of ATM Magazine
-----

2008-03-18T22:29:00.000Z

Well excited about this! Liverpool gonna get smashed!!!

Big up Thomas everytime.

Rye Rye - Shake It To The Ground

2008-03-16T14:54:00.000Z

Love the beats...the dancing is jokes...just watch for the breakdown towards the end too...electro/ techno breakbeats....sick!!

http://www.myspace.com/tharealryerye

March Top Ten

2008-03-10T22:49:00.000Z

Me and Desto @ DMZ 3rd Birthday

March Top Ten
In no particular order:

Cotti ft Doctor - Calm Down (Forthcoming Bassface)
Rusko ft Lutan Fiya - Soundguy is My Target (Unreleased)
Clouds & Deadkhid - Sitting & Watching (Unreleased)
Mundo - Monterry (forthcoming Dub Assembly)
Clouds - Under The Dancing Feet Tes La Rok Remix (Forthcoming Argon)
TRG - They Know (Forthcoming Immerse)
Lee Perry vs Moody Boyz (Forthcoming ?)
Quest - The Seafront (Deep Medi)
Desto - Cold (Forthcoming Noppa)
Relocate - Too Moody To Swing (Unreleased)

Non Dubstep speesh:
J Dilla - Signs (Stones Throw)

www.2nddroprecords.com

DMZ 3rd Birthday Party

2008-02-20T21:01:00.000Z

This is my church....

2008-02-20T12:13:00.000Z

Markle – 2nd Drop Radio - 11th Feb – Sub FM

http://archive.subfm.com/Markle11Feb08SubFM.mp3

Innerzone Orchestra – People Make The World Go Round - Slum Village Remix (Planet E)
David Axelrod - Holy Thursday (Capitol)
Charles Bradley and the Menahan Street Band - The World (Is Going Up In Flames) (Dunham Records)
Wu Tang Clan – Rushing Elephants (Wu Music Grp/ Bodog Music)
Scientist Meets the Space Invaders – Cloning Process (Greensleeves)
Augustus Pablo – Braces Tower Dub (Message/ Shanachie)
Karl Masters & Joe Higgs – Freedom Journey (Elevation/ Pressure Sounds)
Beatconductor – Out of Bondage (Spicy)
Mudie’s All Stars – Heavy Duty Dub (Moodisc Records)
Dub From Atlantis – Heavy Weather Dub - Melodica Mix (Reng Rang)
Scuba – Track 2 from A Mutual Antipathy (Forthcoming Hotflush)
Shackleton – Blood On My Hands (Skull Disco)
Forsaken – Sagrada (Unreleased)
Benga – Electro Musik (Benga Beats)
Desto – Cold (Unreleased)
Krust – Jazz Note (V Recordings)
RAkoon – Dubplate Dub (Unreleased)
Ikonika – Please (Hyperdub)
Benga – Twister (Forthcoming Tempa)
Peveralist – Infinity Is Now (Forthcoming Tectonic)
Vex’D – 3rd Choice – Loefah remix (Planet Mu)
Randomer – Black Gold (Unreleased)
Skream – Wobble Dat Gut (Tempa)
Benny Page – Time to Kill (Unreleased)
Benga – 26 Basslines (Forthcoming Tempa)
Sully Shanks – Give Me Up (Forthcoming 2nd Drop)
Diana Ross and the Supremes – He’s My Sunny Boy (Tamla Motown)
Yellowman & Fathead – Operation Radication (Pama)

www.subfm.com
Every other Monday - nxt show 25th Feb 6-8pm

Feb 08 Top Ten

2008-02-15T11:19:00.000Z

^^A glorious February afternoon in London- setting the vibe nicely^^

After a slow start to 2008, both on my part and lack of top quality tunage, i've now managed to cobble together my latest top ten. And all is FIYA!!!!

In no particular order:

Benga - Diary of and Afro Warrior CD & LP (Forthcoming Tempa)
Desto - Cold (Unreleased)
Peveralist - Infinity Is Now (Forthcoming Tectonic)
Cyrus - Whispers (Forthcoming Random Trio)
Distance - V (Forthcoming Chestplate)
TRG - Broken Heart - Martyn DCM Remix (Forthcoming Hessle Audio)
Sully Shanks - Give Me Up - LD Remix (Forthcoming 2nd Drop)
Rusko - Soundguy Target (Unreleased)
Scuba - A Mutual Antipathy (Forthcoming Hotflush LP)
Clouds - Sitting and Watching (Unreleased)

Non-dubstep extra:
Lucy Hawkins - Gotta Get Out Of Here (SAM Records)

Caspa & Rusko Fabric Live interview

2008-02-03T12:38:00.000Z

Caspa & Rusko Fabric Live 37

Widely regarded as one of the finest clubs in the world, the spin off CD compilations bearing the leviathan’s brand name are widely respected tastemaker delights and hugely popular. So what took them so long to jump aboard the dubstep wagon and enlist two dubstep DJ/ Producers at the top of their game to lay the foundations for number 37 of their Fabric Live CD Series?

Enter Gary MaCann and Chris Mercer aka Caspa and Rusko, the two men behind one of the scene’s biggest anthems: Cockney Thug, who ride into town on a tsunami of hype and popularity. Indeed, the aforementioned anthem was played to 50,000 Arctic Monkey’s fans at Old Trafford by DJ Ross Allen earlier this year, surprising no-one more than an off duty Skream, who immediately phoned Rusko to tell him. It also gained the evening playlist on BBC 1Xtra and support from key underground DJ’s including Diplo, Scratch Perverts, Sinden, TC & Clipz, Tayo and Claude Van Stroke who have been battering it at raves. And with a 24/7 global gig schedule, these lads couldn’t be better placed to deliver a snapshot of the intense sub bass and hyperkinetic energy of dubstep tearing the roof of clubs across the globe right now.

Staying true to the scene’s dubplate culture, Caspa and Rusko did the mix live, in just an hour and a half in Fabric’s room three. “They approached us on a Friday saying to us we need you to do a CD and we need it in by Monday,” recalls Caspa. “We played in Sheffield on the Saturday together. So on the way back we got a pen and paper, in the car, he wrote his list, I wrote my list and we put them together. We spoke to everyone on Sunday about it, licensed it Monday morning, mixed it Monday afternoon.” “The good thing is we both had been bang out on the gigs, so we already knew which tunes work together.” Rusko adds, “It a Fabric Live CD, so it’s a live set, as if you came to see us for hour back to back, that’s what you’d get.”

The opportunity to put their beloved music onto a new platform isn’t lost on the pair, “I think it’s history to be honest with you. It’s a benchmark for the scene. Dubstep hasn’t been taken to this level and this audience or market and it’s gonna do things, not just for us, but also for the artists, the sound, everyone who is involved with it. It’s gonna take it up a notch, which I think is brilliant,” says Caspa.

Full to the brim with Rusko and Caspa material, the mix is also an electric ride through the latter’s two labels, Dub Police and Sub Soldiers, and with the like of L-Wiz, The Others, Orien and new boy on the block, Unitz all featuring it could be suggested this is a somewhat narcissistic selection. Caspa begs to differ, “You’ve got people saying ‘err, it’s just a Caspa and Rusko CD’. And yeah, that’s what it is. That’s what Fabric Live is, not a Now 45 of dubstep. They pick artists for the CD to mix what they play out.” Says Caspa vociferously. “What people fail to recognise is that Tes La Rok is on there, D1, Skream, Coki, Distance, L-Wiz and Quest are on there. There are 12 different artists amongst Rusko and me.” Comparison with the latest Rinse CD from Skream provides further evidence that a staunchly producer led scene will, more often than not, draw from within when given the chance. However, the inclusion of Buraka Som Sistema’s excellent remix of ‘Cockney Thug’ hints at further permutations that can enrich and expand the dubstep spectrum.

As this world renown mix CD provides a poignant benchmark in dubstep’s trajectory, many have watched its progress with keen anticipation. The resistance to sub genres and lazy categorisation is fuelled by the spectre of drum and bass, which is a now a sprawling beast divided and weakened by it’s many parts and divisions. However, the unity is still strong within the dubstep scene, even as it spreads further and wider every day. So will there be a Roni Size Mercury Music Prize for a dubstep artist anytime soon? “Definitely. I think the way things are now it’s open to anyone. I think it will be a vocal tune that will do it.” Says Caspa, “See, Skream is doing some wicked stuff like the Klaxons remix, so that’s really pushing the boundaries. It’s getting closer and closer, the only thing you’ve got to watch out for is someone doing a Britney Spears remix.” At which point Rusko starts grinning. Caspa’s not having it: “I’ll fucking abandon you if you do!”

“There is a nice little message in the track listing, I’m not sure anyone will really pick it up, but the first title of the tune and the last title of the tune, when you put them together is Born to do by Caspa and Forever by Conquest.” I suggest tattoos. Caspa jokes with Rusko: “Super cheesy! I could get ‘Born To Do It’ and you could get ‘Forever’, darling.”

Caspa & Rusko: Fabric Live 37 is out now in all good record shops

This interview can be read in the January issue of ATM Magazine. www.atm-mag.com

2nd Drop 003 - Clouds out now!

2008-01-23T20:24:00.000Z

CLOUDS
A. Mighty Eyeball Rays
AA. Natural Marcus - Talks of the Prejudiced (Clouds Version)
2ndrp12003

Released 21st Jan 2008

In all good record shops!
But my fav is this one...http://www.soundsoftheuniverse.com/

Finish production duo Clouds aka Dead-O and Samuli, deliver two incredible tunes for UK based 2nd Drop Records. Joining the roster that includes Ramadanman and Rusko, Clouds offer two counterpoint styles on one 12". Mighty Eyeball Rays is a glitchy, chopped and snorted typhoon, with a drop of gritty distorted grunt liable to break chest cavities in one. In contrast, their version of roots singer Natural Marcus' socially agitated Talks of the Prejudiced starts off in faithful steppers style, only to descend into a klaxon-call wall of sound, which ducks and weaves back into the vocal, only to drop a second time to scare the living shit out of all and sundry.

Trainspotter's note: the record's illustration was hand drawn by Samuli. Nice.

For more information contact Mark or James at 2nddrop@gmail.com or call 07775 875875/ 07834 379072, www.2ndroprecords.com
For distribution info contact: Load Media, TEL - 01189 599 944
FAX - 01189 587 416, darren@load-media.co.uk, www.load-media.co.uk

Markle B2B Sully Shanks/ 2nd Drop Radio Show – Sub FM 17th Dec 07

2007-12-21T20:00:00.000Z

Markle B2B Sully Shanks/ 2nd Drop Radio Show – Sub FM 17th Dec 07

http://archive.subfm.com/MarklefeatSullyShanks17Dec07SubFM.mp3

Bill Withers – Grandma’s Hands (live) (Sussex)
Heralds of Change – Spotted (All City)
King Tubby – Tribulation Dub (Attack)
Etherealites – Matador Dub (Roots Garden)
Jah Warrior – Satan Bites The Dub (Jah Warrior)
Monie Love – The Power Roach Motel Heavy Dub (Cooltempo)
Ce Ce Rogers – Someday (Atlantic)
Smith & Mighty – Bi Line Fi Blow (K7!)
TRG – Feel For You (Subway)
TRG – Back Like That (Hessle Audio)
Elemental – Soul Fire (Destructive)
Kommonazmuk – Bad Apple (Unreleased)
Sully Shanks – Give Me Up LD Remix (2nd Drop)
RSD – Pretty Bright Lights (Punch Drunk)
Marlow – The Ropes (Destructive)
Randomer – Incarcerate (Unreleased)
Parson – Ghostliner Distance remix (Dubline)
---
Sully Shanks in the mix
Elemental - Strange Brew (Forthcoming on Runtime)
Shonky/Shonx/Dysfunktion - Drunken Master (Dub)
Shnyde - Zoompy Riddim (Harmitage Dub)
Dark Angel - Cool n Humble (Forthcoming on Boka)
Sully - Flashback (Forthcoming on Urban Graffiti)
Shonky/Shonx/Dysfunktion - Hit List (Dub)
Sumone - Zombie, Innasekt RMX (Harmitage Dub)
HOD - Oblivious (Urban Graffiti Dub)
Sully - Trackside (Harmitage Dub)
Reso - 2 Faced Rasta (Dubting)
Parson - Conduit (Dub)
Sully - Duke St Dub (Harmitage Dub)
---
Sully Interview
Musical Bed = Sully Shanks - Give Me Up (2nd Drop)
---
Skream – There’s A Sign (Unreleased)
Clouds – Mighty Eyeball Rays (2nd Drop)
Ikonika – Please (Hyperdub)
Funk Ethics – Blues Is Now (Pitch Black)
Konnek Deep – Dive In (Unreleased)

Mid December top ten (ho ho ho)

2007-12-18T22:51:00.002Z

Sully Shanks – Give Me Up LD Remix (2nd Drop)
Mala – Demons (Disfigured Dubz)
Skream – There’s a Sign (Unreleased)
Dutty Dubz – Contact (2nd Drop)
Sukh Knight – Mount Pleasant (Unreleased)
Rusko – 2 and A Q (Sub Soldiers)
Kommonazmuk - Bad Apple (Unreleased)
Natural Marcus - Talks of the Prejudiced Clouds version (2nd Drop)
Randomer – Nothing Left (Unreleased)
Pole – Winkelstreben (Peverelist Remix) (Scape Music)

Special retro selection:
Benny ill Vs Goldspot – London (Tempa)

--------------------------------------
2nd Drop Radio Show
Bi-weekly Monday's 6-8pm on Sub Fm
www.subfm.com

Plastician Interview (as featured in ATM Magazine Nov 07)

2007-12-18T22:43:00.000Z

As I trawl the Internet looking up some background on the UK’s premier grime & dubstep DJ and producer Chris Reed aka Plastician I am directed to a new blog page from his myspace. The Royal Artist Club is a new marketing gimmick from a company called Frukt, “I thought it sounded like a laugh”, muses Chris. I am treated to short video clips of Chris back flipping into a swimming pool in full city gent outfit, introducing the Alchopop monstrosity called the Randomiser and catch a glimpse of the multi-coloured, costumed group of misfits called Wotless. The man behind classic grime tracks Venom and Cha, and a key conduit in crossing grime from car boot mixtapes and the bleak tower blocks of east London to the record collections of electronica and bass addicts through his input on the Rephlex grime compilation in 2004, is both consummate professional and dead-pan scally wag. With his long awaited and much maligned artist album dropping before the years out, Plastician waxes lyrical on the LP set backs, why he’s happy to be back at Rinse, and doing a porn film.

The Radio One gig has come to an end. What’s the next step for you?
I’m back on Rinse. As much as being on Radio One is brilliant, it’s not as fun. Pretty much everything I did on Radio One was pre-recorded, and that interaction with the audience was lost, and that’s a real buzz when you are on the radio. The next step is doing good shows, good gigs and putting more music out.

The album has had it’s fair share of dramas and set backs.
Yeah, there were loads.

You had Problems with artwork, mastering, pressing and barcoding. Then it got leaked.
It’s happened to me so much now that when I see it now I’m like, fuck, what can I do? I don’t think that it’s gonna hurt, there hasn’t been massive topics on internet forums and the quality of it was poor, so whoever ripped it didn’t rip it at a high quality. The people who will buy it (the Album) are not just supporters of the music, but of you as a person.

What’s behind the name of the Album?
Just people talking about “is it Grime, is it dubstep?” For me it’s just a combination of all the music I listen to. Dubstep is really energetic now, but when I started making certain beats on the album dubstep was more atmospheric and about the weight, rather than the beats. It was like listening to a film score, but with bass, in a club. I took the mid-range, melodies and energy of grime and mixed it with the weight and structure of dubstep. My main inspiration to make music is my mood and what is going on at the time in my life. It’s just me trying to make music differently to other people and not trying to fit to that blueprint of the Divinche stab or a Coki wobbler bassline. It’s music that works in both genres but it’s not the same as anyone else’s music.

Do you think a lot of people will be surprised that there aren’t a lot more MC’s on the record?
I think the grime heads will, because they are used to buying mixtapes and it’s back to back MCing. The whole MCing side of grime was not something I’ve fully been into myself. Even in the early days on Rinse FM I never used to play that many vocal tunes. And still now, I only play ones I really like or they have a really good concept. So it was more a representation of what I was into. I did a few tracks with MC’s. Real Things is a straight up grime track, and then you’ve got Intensive Snare, which is almost like hip hop, but really weighty and dark. That’s one of my favourite on the album.

If we go into the tracks in more depth….I can’t believe its not Benny?
There’s a story behind that right? That was me listening to a lot of Benny Ill, Kode 9 and really deep early dubstep stuff when I built that track. I wanted to build that track that sounded empty, but that had a lot going on in it almost subliminally. It was almost like a tribute to Benny Ill and Kode 9 coz that was the vibe I was on at the time.

Violent has that classic grime sound, but with added weight, as does Shallow Grave, which is an update of an old track isn’t it?
That’s right, the original was on the back of Cha that came out years ago. I really like the beat and the energy, that’s why it made it onto the album.

That’s why I like Badboy, because it really tonks along.
It’s ridiculous; a loud, noisy in your face energy burst 8 bar track. And a track a lot of people have picked out of the album.

I think the album has great fluidity.
We tried so many different combinations with the ten tracks, but I always wanted it to finish with Japan, coz I though that closes it out nicely.

How did you get involved in making a soundtrack for a porn video?
It was random, they’re a London based company and they got in contact with me through Myspace about the possibility of me working on a soundtrack. I was like, why not? It would be quite interesting to see what happens in that industry. I met up with all the guys and they were proper sound, really nice people. I did a 2 hour-long soundtrack with 5 or 6 tracks that are about 20 mins long. It’s something I’ve always been interested in. It’s just funny that of all things to do, it was a porno.

Did you get a free copy of the movie?
Yeah, it’s upstairs somewhere (in his house). I don’t know where, one of my mates has probably nicked it.

Explain quickly what the legend of Wotless is.
Wotless is just me and my mates. The whole prop thing came from lads on holiday. Stupid shit, like let’s wear armbands and goggles for no reason. Then we were like what do we do next? Now it’s so serious, people want to be the best.

Was the gimp suit just the next step in costumes?
I was looking for an outfit to wear in Zante, I was just scowering Ebay, and I had an idea to goes as a gymnast. So I typed in leotard and unitard came up. It’s like a leotard but It covers your face. I had to give my height, my weight and it got sent over from Hong Kong. When I walked through the door no one knew what I was gonna be wearing. Still to this day I have never heard or seen laughter like it.

Plastician’s Beg To Differ album is out soon on Terror Rhythm. Check the Terror Rhythm show on www.rinsefm.com Monday 11pm -1am and www.myspace.com/plastician for gigs and the infamous Wotless crew antics..

2nd Drop Radio - Sub FM 3rd Dec 07

2007-12-18T22:40:00.001Z

http://archive.subfm.com/Markle03Dec07SubFM.mp3

Markle 3rd Dec - Sub FM - 6-8pm

Roots Manuva – Movements (Big Dada)
Earl Zinger – Last of the Great Bassline Hunters (K7!)
The Revolutionaires - Kunta Kinte (Pressure Sounds)
Augustus Pablo – Braces Tower Dub (Message/ Shanachie)
Wailing Souls – What A Feeling (Jah Guidance)
Reggie Steppa – Drum Pan Sound (Steely)
Steven “Lenkt” Marsden - Diwali Riddim (40/40)
Butch Cassidy Sound System – Brothers & Sisters (Soma)
Benny ill Vs Goldspot – London (Tempa)
So Solid Crew – Dillema (Ministry of Sound)
Wiley – What D’you Call It? (XL)
Al Da Bubble – Double Trouble (Archive)
Sukh Knight – Diesel Not Petrol (Unreleased)
Joker – Stuck in the System (Earwax)
Skream - ? (?)
Martin Buttrich – Well Done (Headhunter remix) (Four: Twenty)
Dutty Dubz – Back and Forth (Unreleased)
Elemental – Raw Material (Hotflush)
Rusko – 2 and A Q (Sub Soliders)
Randomer – Incarcerate (Unreleased)
Skream – Oskilator (Tempa)
Westos – Ankle Rotissery (Unreleased)
Sully Shanks – Give Me Up (LD Remix) (2nd Drop)
Pole – Winkelstreben (Peverelist Remix) (Scape Music)
Sukh Knight – Cop Killer (Unreleased)
Peverelist – Roll With The Punches (Punch Drunk)
Sukh Knight – Mount Heaven (Unreleased)
Reso – Holograms (Pitch Black)
Martyn – Twenty Four (3024)
Bowser & DZ – Another Day (Unreleased)
Niney & the Soul Syndicate – Couchi Dub (Wascal Refix) (Unreleased)

November Top Ten pt 1

2007-11-02T11:32:00.000Z

There is so much good music coming out of the dubstep scene right now...different angles, influences, textures....But i have to say that there is a heavy roots thread running through my selection this month. Check the 2nd Drop Radio Show this Monday 5th Nov from 6-8pm on www.subfm.com to hear the below in full audio glory!!!!

In no particular order....

Healing of the Nation - Talks of the Prejudiced (Clouds version) 2nd Drop
Sully Shanks - Give Me Up (LD Remix) 2nd Drop
Templer - Black Story Dub
Somejerk - Lack of Sleep Dub
Rusko - Snes (The Others Remix) Dub Police
Dark Angel - Cool N Humble (Untold Remix) Boka Dub
Goldfinger - Contact 2nd Drop
Mala - Demons Disfigured Dubz
Swing Dat Skirt - LD Ringo Dub
Quest - Paradise Found Deep Medi Dub

Special request 7" ->
Butch Cassidy Soundsystem - Radioactive Red Hook

Mastering at Transition - Clouds 2nd Drop 003

2007-10-24T23:31:00.000+01:00

Mastering. It's a special moment. Sitting in the softly carpeted space of a mastering studio taking in the banks of analogue and audio equipment twinkling away like traffic lights on aphetimines. I still get a slighty nervous sensation when handing over a CD of brand new tunes ready for a bit of tweak and boost. Whilst I didn't make them, I still feel intimately linked with the music. I've chosen it, filtered it from other tracks which didn't strike that chord within me. So, I'm a nervous A&R I suppose. But i'm not worrying about if it will sell or whether the shops will take 5 or 50. I'm worried if people will like it, love it, play it every monring when they get up and before they go to bed. Longevity is a word that pops into my mind regularly and is something that you can rarely predict. I hope, as I'm sitting there listening to Jason EQing, that the tunes playing out before me will be listened to 10, 20 or 50 years from now, the vinyl passed through generations, lovingly played and cherished, and kept unconditionally.

And I do feel that both Clouds's "Mighty Eyeball Rays" and Healing of the Nation's "Talks of the Prejudiced" (Clouds Version) will stand the test of time, and not just be another big tune that is played for 2 months and then relagated to the has been pile. But I supposed I'll have to let the public decide that one.

Big up to Jason, Leon and Chefal at Transition. Always a fantastic experience sitting in the studio with you, seeing and hearing you do your thing and putting the world to rights. Bless up!

2nd Drop Radio Show

2007-10-19T22:50:00.000+01:00

After a number of guest slots on Sub FM, React Fm and Streamizm it was only a matter of time before 2nd Drop Records snaffled its own show.

So kickin off - Bi weekly Monday's 6-8pm on SUB FM
www.subfm.com
www.subfm.com/chat

Starting this Monday (22nd Oct 07) with some exclusive new tunes, pushing some new artists, playing lickle bit of old stuff from a variety of genres in the golden shower hour aka The Randomiser, radio battleships and generally havin a bit of mischief.

Lock on for other news, views and maybe some interviews - guest MC's, DJs and scenesters - who knows who'll be pass thru.

_________________

www.2nddroprecords.com

001 Ramadanman - Good Feelin B/W The Woon - OUT NOW
002 Rusko - William H Tonkers B/W Roma - OUT NOW
003 Clouds - A. Mighty Eyeball Rays - NOV 26th
Healing of the Nation - AA. Talks of the Prejudiced (Clouds Version)

October top ten

2007-09-27T22:58:00.000+01:00

In no particular order. They are all corkers!!!

Dutty Dubz - Contact (2nd Drop)
Loetech - Northern Harm (Dub)
Digital Mystikz - Shake Out Them Demons (Disfigured Dubz)
Distance - Feel Me (Chestplate)
Clouds - Mighty Eyeball Rays (2nd Drop)
Sully Shanks - Heartbeat (Dub)
Benga & Coki -Night (Tempa)
Benny Page - Time to Kill (Dub)
Tunnidge - Geddon (Dub)
L-Wiz - Cowboy Universal (Red Volume)

DJing here:
*Private show, Design Museum, London - 3/10/07
*DOTS, Plan B, Brixton, London - 4/10/07
*Fez Club, Reading - 11/10/07
*Oxjam, Reading - 18/10/07
*Valve - Fez Club, Reading - 25/10/07
*Blag Club, London - 30/11/07

------------------------------------
2nd Drop Records second release is due out in all good record shops from Monday 1st October 07.

Rusko
A. William H Tonkers
B. Roma

Go cop dat!!!

www.2nddroprecords.com

Rebel Skankin in Reading 24th August @ Plug n Play

2007-08-18T18:30:00.000+01:00

Reading's biggest dubstep rave yet!!

This is set to be an absolute blinder...and it's the same weekend as the Reading Festival, so it's gonna be an absolute road block!!! Get there early! Pap!

ROOM 1 (Dubstep/Reggae/Dub)
Rusko (Dub Police/Tempa/2nd Drop)
Reso (Pitch Black)
Afterdark (Boka/3.5 Records)
Psalms 1 Sound - The Reality Shock feat Selecta Jah Squeachi & live pa's from Mikey Murka & Deadly Hunta
Will Blaze b2b THC (3.5 Records)
Markle b2b JBliss (2nd Drop Records)
Bunzer0 (Sub FM) b2b Distinction (Dub Police)
Farm Yardies (Step One)

Hosted by: Sgt Pokes (DMZ) & Rogue Star (Urban Graffiti)

ROOM 2 (Dub/Roots/Reggae)
Ring the Alarm sound with Selecta's Jamie & Diamond finger
Littleboselecta
HashMoney
DB
Unit 23

Extra info: 33- 35 Milford Road, Reading, RG1.

- Licenced bar until 6am
- Outdoor smoking/chillout area
- Extra Soundsystem
- £7
- BBQ
- £5 limited concessions & NUS for early concessions call: 07771924093 / 07834379072
- 9PM – 6AM

www.2nddroprecords.com / www.ringthealarm.com / www.audio-revolution.com / www.realityshock.com
_________________

More space please...

2007-08-16T13:06:00.000+01:00

This blog has been created because i can't get enough spacee in print magazines to review all the wicked records i get sent.
Watch this space.....reviews, interviews, comment, tom foolery, pics and info. Simple as dat!

Markle - 2nd Drop Records - London

Top Ten August 2007 - In no particular order:

Rusko - 2far - (dub)
Loefah - Yours (Ringo)
Sully Shanks - Give Me Up (2nd Drop)
Reso - Climbing the Walls (dub)
Loetech - Northern Harm (dub)
Tes La Rok - Bass 31 (3.5 Records)
DZ - Strong On Ya (Scuba)
Clouds - Cloud Lion (2nd Drop)
The Others - Mango (dub)
Dutty Dubz - Contact (dub)