Posts Tagged 'dubstep'

Review: Scuba – Triangulation

Label: Hotflush
Catalog#: HFCD003

Tracklist:

01. Descent
02. Latch
03. Three Sided Shape
04. Minerals
05. On Deck
06. Before
07. Tracers
08. You Got Me
09. So You Think You´re Special
10. Heavy Machinery
11. Glance
12. Lights Out

Stronger than ever, Paul Rose (Scuba, SCB) releases his third album under the Scuba name. It’s not just an output that feels fresh and encapsulating, but at the same time it displays a state of electronic music that hasn’t been depicted in this way before.

It would be unfair to say that every album fails to do so, but it’s hard finding another album release that delivers such a clear picture in what direction the artist is heading. What seems to be a common ground for the tracks on ‘Triangulation’ though, is that the music continues within the same atmosphere, but in a way that isn’t so distinct that it gets futile. The sense of Scuba writing down his own special sound for the future is weighing heavy over this said atmosphere, as well as the absence of references for his sound, the timelessness is inspirational.

With variations over the course of the album, this sound comes to its strongest side with the tracks ‘On Deck’ and ‘Tracers’ – the reminisces of a Playstation dominant past gets blurred with a strict vision on where Scuba’s music is going – with these tracks, this album lifts itself into a new and unexpected sense that is very welcomed.

‘Triangulation’ is released on 22 March 2010.

My favorite tracks:

Tracers

On Deck

Three Sided Shape

Review: Martyn – Remixes 1 & 2

Label: 3024
Catalog#: 3024-006

Tracklist:

A: Hear Me – Zomby Mix

B: Seventy Four – Redshape Mix

Buy here

Label: 3024
Catalog#: 3024-007

Tracklist:

A: Is This Insanity? ft. The Spaceape – Ben Klock Remix

B: Brilliant Orange – Illum Sphere’s No. 14 Mix

Buy here

Martyn has pushed his sound and 3024 for quite some time now. After getting recognition for his own and unique sound, he also got in contact with a lot of artists in both of the dubstep and techno genres. Zomby, Redshape, Ben Klock and Illum Sphere brings the original tracks into a new level with their wide takes and original ideas.

On the first record of two, Zomby creates a track that feels a little bit as his LP from last year on Ramp, combined with Martyn’s original atmosphere. The track doesn’t really “go” anywhere, but it has a nice groove combined with Zomby’s trademark melodies and beat structures. Redshape on the other hand, who delivers a remix of ‘Seventy Four’ that resembles a lot to Planet E and it’s artists. A mysterious Noir-like atmosphere fills the track with emotion, with a slow rumbling beat and percussion that undertakes a lot of different patterns throughout. The emphasis of the track is how it all develops. A clear signature sound from Redshape accompanied with a new side of his tracks first heard on ‘The Dance Paradox’ album from late ’09. A really suitable remix with remarkable appeal.

Ben Klock takes the voice of The Spaceape from the original – that is about the only thing left from it. Fusing his voice into drum elements combined with bleeping atmospheres and a killer beat, he pushes his own sound into a direction that does not only feel as (in a good way) obvious evolution, but also not losing to much ground with his introductionary ‘One’ album on Ostgut. A subtle progression is always there, kicking around the beat with a persistant contribution to everything else surrounding the track – haunting and mesmerizing, the vocal scatters across every other element, growing a feeling of a dusty old basement combined with the core of the energy in Klock’s sound.

For the other side, Illum Sphere’s ambient and droning space finishes up a remix series that feels very true to Martyn’s aesthetics. The ‘No. 14 Mix’ is very original, grasping a sense of a floating beat structure as well as being true to the beatless arrangement – very impressive and fresh.

Review: VA – Sub:stance

Label: Ostgut Ton
Catalog#: OSTGUTCD11

Tracklist:

01. Sigha – Light Swells – In A Distant Space
02. Airhead – Paper Street
03. Sigha – Early Morning Lights
04. Pangaea – Sunset Yellow
05. Joy Orbison – The Shrew Would Have Cushioned The
Blow
06. Shortstuff – See Ya
07. Untold – No-one Likes A Smart Arse
08. Scuba – You Got Me
09. Surgeon – Klonk Pt.4
10. DFRNT – Headspace – Scuba’s Secret Mix
11. AQF – Born And Raised – Version
12. Badawi – Anlan 7
13. Joy Orbison – Hyph Mngo
14. Mount Kimbie – Maybes – James Blake Remix
15. Sigha – Seeing God
16. Ramadanman – Tempest
17. Instra:mental – Voyeur
18. Sigha – Shapes
19. George Fitzgerald – Don’t You
20. Scuba – Minerals
21. Shackleton – It’s Time For Love
22. Digital Mystikz (Mala) – Stand Against War
23. Scuba – Last Stand
24. Joker – Psychedelic Runway

Buy here

Recommended!

When combining the energy of Berghain and Panorama Bar, together with a (in context) unusual side of dubstep, the Sub:stance club manages to take out the best of both “sides” – and fuse them into a concrete monster. Even though the sharp and ambitious sound may seem a bit uneasy as well as clever, the direction in which Sub:stance is going seems more natural than ever.

Keeping the essence of the sounds that define dubstep, as well as the tempos, structure and attitude while fusing them together with a very techno-fied city and all the inspiration, aspiration as well as unique sense of bass music – Scuba seems more than just fit to create a mix CD of it all.

There is a very scientific feeling that is the backbone of the track selection as well as the progression of the mix as a whole. Keeping a profiled and ambitious droning sound throughout, the subtle (and sometimes very direct) beat goes in and out. This keeps everything interesting, as well as leaving room for a more experimental and a bit untouched sound. Everything reminds a lot of Scuba’s own work, as well as the artists and musicians surrounding him and the Sub:stance club. Expect long droning pieces and soundscapes, combined with deadly levels of bass, as well as sound that is so clear and unique it can almost be physically touched.

Most of the time, the mix keeps an atmosphere of a state of both high awareness and everything in a daze. It requires not so much as to listening, but an open mind to the music. The parallell of it all comes in with f.e. Joy Orbison’s ‘Hyph Mngo’ which, in a good way, breaks everything off and leaves as soon as the mix gets a grip of what is going on. In perspective, this seems very natural for Scuba as well as trying to fuse both vertical and horizontal energy with the mix (and seeing him as a live dj too).

As a conclusion, imagine Berghain with a dubstep sound; this is exactly, with and without frills, the first thing that comes to mind.

Review: 2562 – Unbalance

Label: Tectonic
Catalog#: TECCD006

Tracklist:

1. Intro
2. Flashback
3. Lost
4. Like A Dream
5. Dinosaur
6. Unbalance
7. Superflight
8. Yes/No
9. Who Are You Fooling?
10. Narita
11. Love In Outer Space

Buy here

Recommended!

With ‘Aerial’, 2562 created an album that felt as a pulse check of EDM in 2008 – something that felt inviting, welcoming and cheerful, with a perfect mixture of melancholic melodies and danceable rhythms and techniques. A process that has evolved a lot since then. With new releases in the same field by Martyn, Untold, A Made Up Sound (another alias for 2562) amongst a whole lot of producers getting into the same sonic scenery as 2562 himself.

One thing that makes Dave Huismans’ (2562) music so special, is the lack of external influence – what I mean is the disregard of current trends as well as a steady and consistant high quality output without a lot of hassle. The release schedule is sparse and slow, but once something is out it gets a tremendous amount of support from almost every big DJ worth dancing to.

‘Unbalance’ is a suitable name for an album that manages to intensify the music with utilising just that one word – the whole context and content of the album soars of unbalanced rhythms, patterns, sounds and structures. It’s very hard to define how Huismans manages to do it, but think of Shed being from both Bristol and Amsterdam and you might get a diffuse picture of it.

With ‘Intro’ getting the sonic pace in place, the three directly following tracks are very consisting and true to Huismans sound. They manage to somehow float together, with just enough variations to keep the sense of them being four separate tracks. The production skills are unique here, there are so much going on you can’t stop wondering how he actually managed to create these tracks.

‘Dinosaur’, being the fourth track, the whole pace is shifted into a more direct groove. Chopped up samples and melodies might scare some of the listerners off, but if the extremely concentrated beat gets the space it needs, the track displays some of the most talented productions this year. Five or six melodies goes through a large range of variations, until they finally meet and gets locked into each other – just to be brought apart again to get accompanied with new beats and shifted percussions. At the end, everything goes quiet, and the “glue” of the track comes through – a atmospheric recording of a transtation, harbour and roadwork lying steady as a foundation of the track.

The title track, ‘Unbalance’ displays a very daring experimental sound. Leaning towards early Tempa-dubstep and even more Bristol influenced darkness, 2562 elevates the album into something different. Being unprepared of how the album might sound, I would never have guessed that a track like this would be the title track. Electricity and a very visual sound defines this track, combined with a steady pulsating beat and a tremedously precise bass line that fills up all the space that the melody leaves for all the other elements. Haunting percussion and rhythmically advanced patterns are maintained throughout, being more consistent than the previous four tracks – but the increased tempo is very welcomed as early as this for an album. Just enough the keep the attention of the listener and placed perfectly as a fifth track.

As for the rest of the album, 2562 takes the previous variations and combines them in different way. There are absolutely no track that feels as something being placed on the release just to make up for an album – they have all different moods, grooves and spaces. The one thing I appreciate the most is how the album always seem to keep itself together, going from all sorts of places and experiments. The consistency is always there, which makes it interesting and fun to listen to.

This is one of the best albums of 2009, don’t miss out!

My favorite tracks:

Unbalance

Yes/No

Love In Outer Space

Chart: October 2009

http://www.residentadvisor.net/dj-chart.aspx?id=9316&chart=19077

Review: Various – Fantastic 4 EP

Label: Not on label
Catalog#: FF001

Tracklist:

A1: D-Malice – Full Effect

A2: DVA – God Made Me Phunky

B1: Ill Blu – Time To Get Nasty

B2: Roska – Holograph

Buy here

Recommended!

With all the new styles going on in the UK, four of the most forward pushing producers are on the same vinyl. This collaborative EP sums up what is usually referred to as UK funky. Drawing a lot of inspiration from dubstep and house, all four tracks manage to create something entirely new, adding to the wide spectrum of various genres and styles within EDM – especially within dubstep.

The strong parts of all tracks are the depth and punching percussion and drums that make up for the sometimes cheesy vocals and attitudes. As well as being cheesy, they are also cheerful and plays nice alongside a lot of current dubstep tracks.

D-Malice’s track ‘Full Effect’ resembles the most to Chicago house, putting the dub aspects a little bit in the background. The clever use of simple percussion and rhythms is a genious move, going back to the limited hard ware era of early 80’s and 90’s, which with such limitations makes the track breath between every element. A effect that is more often forgotten than used. Soca influences combined with dubstep atmospheres and modern technology frames in DVA’s ‘God Made Me Phunky’, a track that explodes intensity and a bit of playfulness, going strong on traditional soca and dub.

Ill Blu’s ‘Time To Get Nasty’ could just as well be a standard R&B track, but the amount of reminiscent of hardcore and jungle shines through too much and makes it into something quite unique, without losing touch with it’s influences. The same goes for Roska’s ‘Holograph’, sounding instantly as a track from the same producer that gave us a quite long stream of white label’s this year, as well as equally funky and funny tracks on his own Roska Kicks & Snares.

This is a hate or like record, I hope it grows on most of you, so give it a shot!

Head Office (The Office) @ F12

In about 4 weeks, me and a friend from the Head Office collective will be playing at our friend’s residency Shelter.

Noah Gibson @ COLONY

“Second up is Sweden’s Noah Gibson, a DJ/promoter/blogger who’s activities for Stockholm’s shady Office collective have put purist underground clubbing firmly on the city’s map. He’s played alongside the likes of Shed, Marcel Dettmann and Cio D’Or, and will be delivering a typically thumping selection of raw, stripped back techno for the occasion.”

Review: Marcel Fengler – Twisted Bleach

Label: Ostgut Tonträger
Catalog#: o-ton27

Tracklist:

A1: Twisted Bleach

A2: Gridlock

B: Chi Twine

Recommended!

“Little Marcel” delivers once again something fresh and unique sounding. The previous work had a very direct influence of the resident club as well as Dettmann and their friends, which Fengler took in and made into something of his own.

Replacing his previous pattern, he manages to fuse oldschool house and Berghain-ish no-high-frequency kicks together with raw and pumping percussion and drums. On ‘Twisted Bleach’, this new style from Fengler is showcased in the most direct manner, which then settles down a bit into the old style with ‘Gridlock’. Apart from these, a limp groove that leans towards dubstep is introduced with ‘Chi Twine’, a apocalyptic track that is one of the best this year.

A sense of timelessness surrounds this 12″, especially with the big spectrum of influences and sounds that in some mysterious way feels closer to each other than other tracks that moves in the same area.

‘Twisted Bleach’ is due in late August.

Review: Zomby – One Foot Ahead Of The Other EP

Label: Ramp Recordings
Catalog#: RAMP022

Tracklist:

A1: One Foot Ahead Of The Other

A2: Helter Skelter

B1: Pumpkinhead’s Revenge

B2: Polka Dot

C1: Godzilla

C2: Expert Tuition

D1: Bubble Bobble

D2: Mescaline Cola

D3: Firefly Finale

Buy here

Recommended!

From ‘Where Were U In ’92?’ to ‘Zomby EP’, Zomby shows his many sides of wonky and straight up Zombyism, as well as combining classical electronic genres and combining them in his own and unique way.

Being a parallell to ketamine and being a centerpoint in the discussion about wonky in general, he shows little interest about what people think – solely by remaining secretative about his identity as well as the absolute disregard to the pinpoints people put on him. One thing that Zomby always keeps up is the freedom he displays with his releases: the extremely unpredictable sound (well, to some extent; you can most surely rely on the sounds from old video games and resemblances) as well as his movements within most of electronic music.

‘One Foot Ahead Of The Other EP’ feels as the album that fits perfectly between his previous excursions. It’s never “too much”, which I could feel with ‘Zomby EP’ on Hyperdub – as well as with ‘Where Were U In ’92’ sometimes. This album feels more narrowed down, in the most positive regard – it feels more evolved and a bit more worked through, as if the idea of the music got a better practical result here.

One thing I really appreciate is that Zomby involves four by four rhythms and illusions, keeping the groove more steady brings in the pressure from four-to-the-floor beats. He manages to squeeze in his own sounds and samples(?) into the rhythms in a excellent way – as he surely always have been doing. It’s nice to feel the fast paced tempo of a 140 bpm techno track getting chopped, ket-ed up, and snorted into a very undefinable and fresh attempt on modern electronic music.

The highlights of the album are these tracks, as well as when Zomby puts things into a more futuristic sense, such as the title track and ‘Godzilla’. I could easily say that all tunes on the album are absolute killers.

You know what you get.