Posts Tagged 'garage'

Review: Joy Orbison – Hyph Mngo

Label: Hotflush Recordings
Catalog#: HFT 009


A: Hyph Mngo

B: Wet Look

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After Braiden played ‘Hyph Mngo’ at COLONY the same time I was there, I was really close to ask him “which track was that”.

A track that did not only felt great that night, but also felt like a new context in an old pattern, taking the anthem aspects of tracks such as ‘Nesrib’ by SIS or similar releases and putting them into the UK funky and dubstep current state. One question that might come up is if it has the longetivity of more subtle tracks that focus less on elements surrounding the beat structure, or if it will remain while those said subtle tracks will be forgotten. Nonetheless, a track of this caliber is always unexpected; it’s always appreciated.

‘Hyph Mngo’ feels like a really great house track, one of those that every time it comes on, you can’t stand or sit still – a definition of a classic. I won’t be surprised if it gets played by almost everyone that “dares” to shift up to British tempo, on the other hand, the international emotional content of the track makes it suitable for almost any venue or situation.

The focus shifts through the duration of the track; the energy is maintained throughout, but goes from melody to melody and getting acompanied by the chopped up vocal. The beat structure keeps the funk intact, being held up by traditional deep and heavy bass breaking through the 4/4 bars.

A track that will probably stand out for the rest of the year, if not for even longer.

With the anthem potential of the A-side, ‘Wet Look’ on the B-side cools things off in an excellent way. Fitting perfectly to the records atmosphere, Joy Orbison pushes the beat advancements even further by shifting the focus from a distinct bassline and precise melodies to more complex rhythms. The melody goes from one to the next, being maintained by stabbing yet reduced sounds that fills in the vocal in an excellent way. ‘Wet Look’ feels even more current than ‘Hyph Mngo’, which is both daring and at the same time exciting.

Review: Various – Fantastic 4 EP

Label: Not on label
Catalog#: FF001


A1: D-Malice – Full Effect

A2: DVA – God Made Me Phunky

B1: Ill Blu – Time To Get Nasty

B2: Roska – Holograph

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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!

Review: Zomby – One Foot Ahead Of The Other EP

Label: Ramp Recordings
Catalog#: RAMP022


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

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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.