'09 Top 10 12"s

Well I started this as a conventional 'Top 10', but by the time I'd done the first...two, it dawned on me that I could keep going until about 50. I wanted to include every Roska release, every Keysound release, every Hessle Audio release, every Hotflush release, every Hyperdub, every No Hats No Hoods and every Apple Pips but I just didn't have the space, so below are the 10 I think I've loved most this year:


James Blake - Air and Lack Thereof/Sparing the Horses [Hemlock]



Cooly G - Narst/Love Dub [Hyperdub]



Pangaea - Memories [White/Self Released]



Darkstar - Aidy's Girl Is a Computer [Hyperdub]



Kode 9 - Black Sun/2 Far Gone [Hyperdub]



Untold - Anaconda/Can't Stop This Feeling [Hessle Audio]



Bok Bok/L-Vis 1990 - Night Slugs EP [Dress 2 Sweat]


Deadboy - U Cheated [Well Rounded]



Joy Orbison - Hype Mngo/Wet Look [Hotflush]



Floating Points - Vacuum Boogie EP [Eglo]

'09 Top 10 Albums

1. The XX - XX


DJ Magic - No Hats No Hoods Vol. 1


3. Various Artists / Hyperdub - 5: Five Years of Hyperdub


4. Animal Collective - Merriweather Post Pavillion


5. Terror Danjah - Gremlinz: The Instrumentals (2003-2009)


6. Alix Perez - 1984


7. Girls - Album


8. Zomby - One Foot Ahead of the Other


9. Roll Deep - Street Anthems


10. Hudson Mohawke - Butter

A little gem from Tunnel Vision Vol. 5. Wiley is the king really, goes without saying. A love song to LDN

Maniac

If what's happened with Maniac's sentencing is true, then the guy is a very disgusting dredge of humanity. There have been some disputes about whether he did what is claimed (read the details here), but what cannot be disputed is the strength of the guys beats and what a shame it is that he has ruined his life/has had his life ruined for him

This kinda sounds like proto-Purple Wow:

I am very unsure of how many people get to exert their influence over live nights/choosing which djs play etc. I have asked for a gig in the passed few days, despite being able to play most genres/playing just vinyl, I was turned down by someone who is basically the code for DJ Hero. I should probably say Hipster Hero. The guy is a shitty laptop DJ himself and also rides a fixed gear bike/is a poet/is an artist/is a graphic designer/a blogger/etcetcetc. and is obviously such a dickhead/hater that he deserves to be named and shamed. I am obviously too much of a pussy to do this, so all I will say is he has the same forename as myself and he only refers to the following names as big willy. what a twat. sam big willy fuck yourself you pretentious cunt lining

FUCTIONS ON THE LOW

This is absolutely incredible



And here's Crazy Titch over it from a few years ago before he got locked up



Also a deep bit by Goodz about Titch

FOOD

This week has been all about food for me. I have the appetite of a crazed horse. I don't feel I can stop. Mainly Mexican this week, though last night I got so much chicken and spent about an hour in Chicken Cottage at 4am eating it and talking about why England haven't won a world cup recently.

Reaching Matter for Rinse/FWD>> tonight. Gonna be big. So to combine both food and Grime, here's a Grime tune about food:

The Best of Ms. Dynamite

"Question: boy can you add up? The equation of you plus me equals nada"



Most know her for winning a Mercury and a couple of BRITs for that song with the infuriatingly catchy chorus ('Ms Dynamite-ee-ee...') and disappearing. This really isn't fair: in my opinion she is the best Female Garage MC of all time, actually scrap that, the best garage MC of all time and she deserves more recognition for this. She's back with a new single, Sticky produced Bad Gyal, which echoes back to her mindblowing debut, BOOO!, also produced by Sticky.

So here are my personal favourite Dynamite penned tunes:



Despite the cheesy intro to the video ("Why they Booin'?!" "Cos this choons heavy bredwin!"), the bass drop is undeniably one of the biggest in UKG. Hear this on a big system and the subs risk your dental health.



If this was played to kids as a replacement for Government-issued 'Say No to HIV' posters, it's likely that Jeremy 'PUT SOMETHING ON THE END OF IT' Kyle would be out of a job. Here, Dynamite deals with the ins and outs of sexual health without sounding the slightest bit preachy. The beat from Menta is also silly huge.



On more of a Grime flex here, the b-side to It Takes More displays more of Dynamite's impeccable flow.



New single Bad Gyal is a return to form for Ms Dynamite: she's back with Sticky here and also back to roots with her flow. It's no suprise that Bashment/Funky DJs The Heatwave have been all over this. Catchy, but still coming ridiculously hard. A torrent of 'She still got it!'/'I never wrote her off, I promise!' talk to follow...

Sigha - Rawww EP [Hotflush]

A review I recently did for Inverted Audio

After two 12"s on the consistently brilliant Hotflush label earlier in 2009, Sigha returns with perhaps his most impressive release yet. Sigha's earlier releases established him, alongside producers such as Pangaea, T++ and Scuba, as a key purveyor of the techy side of the genre previously known as Dubstep. Although this release continues in the same vein as 'On The Strip' and 'Bruised', it becomes clear that Sigha has well and truly immersed himself in what his earlier productions pointed towards: mesmeric dub techno, but with an injection of garage's funk and swing.

Opener 'Rawww' ripples with infectious, sporadic energy stapled thinly together with a filtered, percussive synth, which runs throughout. The real joy here is the track's unpredictability: in ten minutes the groove changes almost at will, though always so subtle that it is impossible to tell what is coming next. The drums shift and click, layering over each other, dropping out and dipping back in, shifting from minimal and spacey to a bliss of funk with just a few extra drum hits in Omar S fashion.

The first track on the flip, entitled 'Hold My Heart Up To The Light', has a more skippy feel to it, which for the first two and a half minutes leads to a sense of claustrophobia, before being broken by some synth builds, then again being engulfed by the shivers of drum clicks. The occasional synth blocks stop just short of breaking the delicacy of the percussion here, and the result is a track which sounds at breaking point for its entirety, without its minimality ever becoming overwhelmed.

The final track is the closest this 12" gets to linearity, and is the most obvious on the record to be heard on a dancefloor. This, however, does little to damage the feeling of dread Sigha does so well to establish on the previous two tracks. The drop comes halfway through, doubling the energy without losing any pre-drop subtlety and from here the track continues to a natural, unforced end.

A touch more techy than his previous output, 'Rawww' is minimal, groove-laden, ominous and highly recommended.

Sigha Myspace

R.I.P My MPC 1000 2003-2009

I sold my MPC. I am really very upset about this. I had some great times with that little machine, so here be its history:

I bought my MPC 1000 in 2003/4 (est.) from a very dubious seller on ebay, whom I met to exchange funds for goods beneath some offices in Piccadilly Circus. I remember going in with my dad and finding two guys smoking a joint in front of loads of video editing equipment. It was a little bit awkward with my Dad, though he was quite cool about the whole thing considering. I played around with some of the samples on the pads and at that young age, 13, I was completely immersed in the experience of cutting up audio and rearranging it to create new sound. After confirming that, despite the constant cannabis fumes, the MPC still worked 100% fine, we bought it, and I could not wait to get it home to have a play.

One of the most striking things about any MPC, I mean mine was a 1000, not the seminal 2000XL, but still, the image of any MPC and the feeling of having a play on it is one of the most unique experiences in this world: Dilla created the majority of his beats on this thing; if you listen to the roots of hip hop from the 80s you will hear an MPC all over it; later DJ Shadow redefined the boundaries of hip hop by using the MPC to manipulate sound until he created such beauty as demonstrated in Midnight In A Perfect World, or actually the whole of Endtroducing... as a matter of fact.

The MPC enables the user to put together an on-the-fly re-edit of anything, and has played such an important part in the development of Hip Hop that it would be difficult to imagine what Hip Hop would look like now without it.

Thankfully I am able to keep my beloved MPC within my family: I have managed to sell it to my immensely talented brother and one day, when I can afford it (if I can afford it), I will buy him a top of the range new MPC in exchange for my old MPC 1000 because this particular sampler has played such a huge part in why I love Hip Hop, and as a result of this Dubstep, House, Funky, D'n'B etc. and henceforth why I love the music that I love today. I was never particularly good as a producer with my MPC, but by paying that much attention to sound by spending that much time with it, I have learnt some very valuable lessons about sound, and managed to immerse myself in each individual sound so very deeply that I have reaped the endless benefits of this in my current life.

MY AKAI MPC 1000, I SALUTE YOU. MY YOU HAVE MANY HAPPY YEARS WITH MY BROTHER BEN.


SAM'S BLUE MPC 1000: 2003-2009. R.I.P.

I have recorded a mix which will be up as soon as I can get the link here; I have had some problems with zshare today. The mix is mostly UK funky with some big twists on it, like some Untold, James Blake and Darkstar. If I don't get a chance to upload this mix soon however, I will upload the phenomenal mix by Pariah that he recently completed for Sonic Router. Trust me, this is so big, I heard it today - mind blowing.

Flavaboxin'

Well I just got punched in the arm by an Asian man whilst walking down commercial road. I don't know why. There are kids setting off fireworks all around London this week I swear, not just all the kids from the estate behind our house; I keep seeing people posting on twitter about it. Very hilarious, but noone wants to walk out the door and risk getting set alight really. Just got back from Leicester, very fun. Attempted to eat 2 'Flavaboxes' to cancel my debt to Amrit. 1 flavour box costs £3 and consists of 6 potatoes, a portion of chips, lamb doner meat, a chicken leg/breast, beef doner meat and chicken tikka pieces, garnished with garlic sauce, chilli sauce and topped with some salad. Not really sure why the salad is there, there really is no chance of giving the Flavabox an even partial impression of healthiness. I finished about two inches, possibly 2.5, before being defeated. Yes, you measure this food in height.

Really into Alix Perez right now. 1984 is amazing.This tune he did with Spectrasoul is a favourite of mine. So much soul to it, real bliss

Also hot right now is producer Jam City. I'd love to write extensively on here about why I'm excited about this music right now but I might be writing about it for Inverted Audio at some point. What I will say is check out the mix done for Fact. The link to Fact's website is in my blogroll on the left of the page.

Timeless

Started to get a grip, after all these years, of what I wanna play when I DJ. It's a mix of Grime, Dubstep, UK Funky, Hip-Hop, UK Garage, Wonky, B-More Bass and it rolls at about 134 BPM usually. I have a fun time with this.

I've started producing a bit more recently, still very shit but if you wanna hear a tune which I don't completely hate, get it here. It's far from finished.

In other news I was round Pariah's yard yesterday having a mix and there's a possibility he might be working with Trim. I know, right? Absolutely mad. Trim. Trimothy. Trimble. From the Isle of Dogs. Yeah, Mr Soulfood himself. No, not Trim Hinson. Pariah also has some mega exciting remix news in the pipeline which I don't really want to reveal, I mean I'll probably get sued by his label for the Trim thing so I can't risk any more.

Picked up the new Night Slugs EP, which is phenomenal as well as a very well cut piece of vinyl, which is more than can be said of Hyph Mngo by Joy Orbison and Timeless by SBTRKT, which were the other two tunes I picked up. Wet Look on the Hyph Mngo 12" skips, deeming it unmixable, and the SBTRKT tune is really quiet at the start and just sounds a bit warped at any time the drums drop out. Sort it out cutting factorys. All the tunes are amazing though, so I can't really complain.

One of my decks is broken.

This is Timeless by SBTRKT. It's a reworking of Goldie's Inner City Life.

This on Saturday:

Blunted Robots

I really cannot wait for the next Blunted Robots release. I've played 001, the Martin Kemp/Mickey Pearce release, pretty much to death. Next up is a complete 12" from Mickey Pearce, which you can hear at the Blunted Robots MySpace. The Blunted Robots crew are pretty much the most exciting label in Bass music right now, along with Hessle Audio and Night Slugs. Every tune I've heard that's affiliated to any of these guys (Brackles, Shortstuff, Spamchop...) combines these really scattered rhythms with some silly bass pressure, demonstrating what UK Bass has always been about: a fusion of elements from various genres which combine to sound both forward thinking and undeniably danceable. I've played loads of tunes by these guys every time I've played out and they've gone down a treat. Also this picture, taken by Braiden, a phenomenal selector in his own right, is pretty cool:

Deadboy/SRC

Another artist from the Future Garage/Funky contingent has caught my ear recently - South London's Deadboy. Batting around journo terms such as Future Garage seems a little bit ridiculous, but I think what he does most closely fits these terms, with the exception of the hiphop style tunes on his MySpace, so really it's probably better to call it 'Bass' and settle for that. I think he's from my ends in Kent but don't quote me on this, it could as easily be someone completely different but no matter what the background to this is, he really has tapped into something fresh here. Forthcoming single 'U Cheated' (see below) has been bashed about by Oneman recently amongst others and carries the kind of special energy through the live drum samples and sense of melody which is genuinely very exciting. I should be getting a promo to review for Inverted Audio soon. Check this out:

Another dude that's been killing it recently is pseudo Grime producer SRC. His stuff kinda sounds like if Zomby did really heavy grime with that video game sample feel which I'm really into. There are some videos he's posted on YouTube of him making beats with an MPC, which I obviously love. Everytime i see a producer rockin an MPC it gives a a big smile. I can't put into words how much i love them and SRC really does them credit. Here's his Mario-sampling track, Goomba:

Floating Points - Vacuum EP Review

A few weeks ago I did a post about House in which I wrote briefly about 'Vacuum Boogie' by Floating Points. Since then I've joined the team at Inverted Audio and I was asked to review the aforementioned EP, so here it is:

It wouldn't be an understatement to place Floating Points', AKA 23 year old Sam Shepherds new EP as one of the highlights of 2009 after a string of releases this year beginning with the skip-hop of Eglo 7" 'For You', through the electro-soul of 'Love Me Like This' and most recently 'J & W Beat', which has been hammered by every decent selector from Mary-Anne Hobbs to Eglo co-head Alexander Nut. This string of releases, although great in their own right, seem to have been building up to 'Vacuum EP'. The first thing that's striking about the title track is the groove, established by a deep, booming kick, which falls irregularly but is anchored by disco hats, before a shaker completes the shuffling effect. However, as much of a heady groove as this creates, what really makes this track is the melody. It's difficult to pick out one controlling melody or hook, but listening to the track there must be at least five elements, all grappling for the limelight and simultaneously complimenting each other. The effect is both dizzying and blissful, and it is easy to see Shepherds classical background here: any followers of his on Twitter are regularly treated to performances of Debussy compositions and the like. And that's what 'Vacuum Boogie' is - a composition, the synths working like an orchestra rather than just electronic sound. From here there is a slow build whilst the tune finds its feet, but when the bass drops? Game over.

On the flip, 'Truly' is structured quite similarly, with a keys line fitting between drum hits until the bass drops in a similiar way to 'Vacuum' and one of the most blissful chord hooks in existence enters the mix. This is one of the EPs main strengths: the progressive, loose intro which seems to fuse seamlessly into a full-on woozy epic in a second.

The final track on the EP, 'Argonaute II', is the most understated. It gently ripples with dreamy energy, underpinned with a sporadic lead line which stretches the length of the track until the fade out, though in all honestly 'Vacuum Boogie' and 'Truly' are the two which grab most attention. This EP finds Floating Points' at his most coherent, taking elements from previous exploits and combining them into a House format, the relatively slow tempo of which allows him to be at his most melodic, which is where he really excels. Though there is still time for releases in the tail months of 2009, 'Vacuum' will no doubt be a definite highlight for many, and deservedly so.

Dubstep is one word you fucking morons

It is now a widely accepted fact that what has become 'Dubstep' now rests in commercial venues blasting out mid-range, 150bpm ear-fodder for grinning space-wasters waiting for the next drop (they never have to wait long, there's a drop at least every 30 seconds) so they can shout 'FILTHY!!!' like it's a good thing. Don't get me wrong, I love a bit of ridiculousness as much as the next guy, but there is nothing good about this stuff.

For example the following tune would probably get a rewind in your average night billed as 'Dub Step' (notice the gap between the words; no names mentioned, though a hint would be that I think the guy is a moron, but I was recently invited to a night billed as this. I don't think it's too elitist to state that if someone doesn't care enough to bother to learn that Dubstep is one word then they shouldn't promote the aforementioned music).

It sounds like a pig squealing.

So yeah, another quite generic rant, but actually I think this is a very positive thing for the music. In recent months we have seen those originally attracted to Dubstep for it's space, progression and bassweight jump ship after playing Dubstep meant exactly what I've stated above. From this we have the rise of Funky, the Dillaism of Wonky and further progression into Future Garage and House, not forgetting the pioneer Djs such as Oneman,, Blackdown, Ben UFO, Bok Bok and Ben UFO amongst others blending all the aforementioned styles together and being perfectly selective about the Dubstep they play, limiting it to the cream of releases and cutting out anything dull, using maybe releases from Hyperdub, Keysound or Hessle Audio along with emerging sub-genres. Therefore rather than the too often heard torrent of 'Dubstep is dead' or it becoming something so awful that it resembles nothing of the original groundbreaking force it once was, we see it becoming an umbrella term for innovative, amazing Bass music. Kode 9 was once quoted as saying Dubstep is a huge Sub and anything over the top, and this is a sentiment very relevant to 2009, with genre boundaries blurring in a way which makes 2009 a very exciting time to be in music, despite the hoards of Filth dullards.

Haus!

BLEURGH. Finally completely settled and ready to blog the shit out of this internet game.

Firstly big up to Fuck The Whiteboard for Friday night. My DJ debut as Mickey Rawkus (geddit) playing back to back with Pariah, who, if i'm honest, completely blew me out of the water. Had a great time, really want to play out as much as possible so if you're reading this and you put on a night get in touch and book me. I will play (almost) anything. But I won't play almost anything (yeah, that is a diss to that bitch who kept shouting PLAY RUSKO at us. No, i'm not playing Rusko. Nothing against the fella but REALLY?). Kept it rollin' with some garage classics and uk funky mainly, with some wonky and house thrown in for good measure. I dropped Anaconda by Untold and it went off. Got a rewind. I am very happy about this. Highlight was Pariah dropping Shystie. Or maybe when he dropped 'Detroit Falls' at the end. Anyway, enough wankery for now but please do get in touch. I want to get this dj ting well and truly up and running.

In other news I've really got into this kinda house stuff. Not really proper deep house, and I've been on UK funky for a while, but the stuff by a few guys related to the Dubstep thing, though Dubstep now seems to work as a term for good bass music, as well as loads of midrange wobble wank flannel music.

First up FaltyDL. I've ignored this dude for far too long, just heard a few tracks and neglected to actually good deep into it. It's a fusion of Garage and House with a transatlantic feel and a really strong sense of melody, but with the standard chest-breaking Bass synonymous with nearly everything I love right now. Track 'To London' is my personal favourite, though more can be found on full lengths for Planet Mu and his mix for the intimidatingly brilliant FACT Magazine.

FaltyDL has more of a garage slant than the next guy, who I've been into ever since I was turned onto him by a track on Alexander Nut's FACT mix (there they go again...). I was gutted to miss Floating Points at FWD>> yesterday. I don't know how I find it so hard to get to Plastic People on a Sunday for some reason. This is my favourite by him. The track starts well enough, establishing a luscious groove, but it's all about the bass drop later on in the track, which really does take my breath away.

Lastly, I really am not pretending to know the slightest about House (but believe me, I am doing my best to educate myself) and I am aware that the tracks I've posted so far on here are far from what many might perceive to contain the traditional notions of house, so here's a tune that is undeniably Housey. What I'm beginning to recognise in house is the ripples of energy and melody that build like a tide over the music, and this is what I look for a lot of the time in House tracks. This is a perfect demonstration of this effect by on of the masters, Omar S, who I was lucky enough to catch at Fabric months and months back.

I'll be doing my best to post on here as much as I can from this point on, I really have no excuse. Also working on my production and saving up for as many records as I can possibly grab. PLEASE SOMEONE BOOK ME :)

Peace out x

Carnival ting

Went to FWD>> Sunday, Alexander Nut absolutely rocked it, started with some wonky kinda hip hop bits and then played some Zomby and the Loefah mix of Jah War, which i was pretty happy about as I've been revisiting it for the past few weeks. It was amazing on the Plastic People soundsystem.

Next up was Pangea Vs. Untold. They opened with a remix of Islands by The XX, a favourite band of mine recently, their self titled debut is set to be one of the highlights of the year. I'm not sure who's mix it was, it sounded like Untold with his trademark huge bass hits but I might be wrong. Rest of the set was made up of a lot of unreleased Untold and some Pangea bits here and there.

From here I caught Dekheads at Catch, not my kinda thing, mostly just fidget house bits, but my man Doop dropped a mix of Nirvana and we all had it out for a bit. I was a bit drunk by about 1 and decided to go back to a mates flat to stay fresh for carnival business the next day.

I have no idea why I haven't been to Notting hill carnival before. It is pretty much the best thing in existence: Loads of huge homemade soundsystems playing Reggae, Dancehall, Dubstep, Grime and whatever else; jerk chicken and Red Stripe. We tried to get in to the Mad Decent party but failed in epic fashion, so eventually found a grime system where POW! got (surely) a record 6 rewinds. Was a bit worse for wear again so struggled home, as every tube station for miles around was closed.

Playing B2B with Doop warming up for Tomb Crew at El Mono tonight...should be interesting. Waiting some records in the post, really hope they get here so I can play them out later.

OOOOOOOOOOOPS!

Not really new from Hud Mo. I don't know why I'm so late posting this shit. Picked this up first on a mix by a guy called Kper who I don't really know anything about. That mix is well worth picking up, it's all ridiculous Dilla-esque wonk seamlessly mixed. Get it here

The tune is a reworking of r&b/masturbation classic Ooops! by Tweet, giving it some silly big synths and wonking about with the drums. The result is spectacular. He dropped it at Glastonbury but the sound was far too quiet. The bassweight definitely requires serious volume.

COOLY G

Cheers to everyone who came down to Gold Soundz, will start work on another one, possibly in London, when I move back up early September.

Bit late on posting this but it's something I've been feeling for a few months now. I saw a trailer for a documentary about her on YouTube, don't know too much about it but it looks cool. The trailer is just Cooly playing at Plastic People and dropping Narst at the end, which I'm obviously all about right now. Here's Narst:

There used to be a full version up but it's been taken down.

Strongly suggest getting this, out now on Hyperdub. B/W Love Dub.

Also check out Cooly's mix for Fact or her Rinse FM podcast.

GOLD SOUNDZ PROMO MIX

Put a mix together for my upcoming local night, Gold Soundz.

Get it here:

http://www.zshare.net/audio/638205250d8950c0/

Tracklisting:

Skream - Filth (Tempa)

Gemmy - BT Tower (Planet Mu)

Mark Pritchard & Om'Mas Keith - Wind It Up (Hyperdub)

Zomby - The Lie (Ramp)

Joker - Re-Up (Kapsize)

James Blake - Sparing The Horses (Hemlock)

Youngstar - Volcano (White)

Zomby - Strange Fruit (Ramp)

Brackles - Lizards (Apple Pips)

Youngstar - Bongcat Riddem (White)

Brackles - Get A Job (Apple Pips)

James Blake - Air and Lack Thereof (Hemlock)

Happy 4th July (Well, for yesterday)

Living at home proper now it seems, bit weird, really fun in places but variety of reasons (no job and woman stuff) kinda holding back what has the potential to be an amazing summer. SUXX. Ongoing Serato vs. vinyl war in my head. Should be putting up a mix I'm gonna put together using just vinyl on the next few days so hold tight.

NEW TUNES

Half finished two tracks earlier. Not very polished, not mixed properly or mastered at all.

First one is pretty dark, get it here:

http://www.zshare.net/audio/61353209d2171c7a/

The other is quite Dilla-esque, 90 BPM

Get it here:

http://www.zshare.net/audio/613624359e94d5db/

Any feedback would be great

bleurgh

Everyone's gone home really, sucks a lot. Moving in with Becca and Tan in Bow for a while until I get my new house. Gonna be fun. Miss my decks and nice home stuff now though, and that all my shit is spread around 3 separate houses. 

The Angriest Man Alive

This is pretty mad. I've been on this for a while but this version on Logan Sama's show is worth a post. Tempz starts off pretty chilled (well, as chilled as you can be whilst threatening to rob someone's house and steal their kids' toys) and works up until he's screaming. Sama drops Saxon towards the end, succeeding in making this sound very much like a shark attack before seemingly proclaiming the whole thing too much and turning off the radio. The sound effects or gun shots and smashing windows don't help, and neither does the wonky camera thing whenever they get dropped. 

Burial Vs. Four Tet

Just heard the Wolf Cub/Moth split 12". Moth is my favourite, the more Burial sounding of the two,  though the 4/4 house beat hints at a possible new direction. Wolf Cub has the cut up Four Tet drums that are all over Everything Ecstatic but towards the end Burial's staple rumbling low-end bass comes in. Perhaps the best thing about this release is that it is so clearly a collaboration - elements of both producers' style can clearly be heard, and both of their respective sounds fuse, creating a dark nightscape courtesy of Burial and giving a loose, improvised impression from Four Tet.

Both tracks are available on MP3, but unfortunately the 12" release was extremely ltd. edition and is sold out.

 

Birthday weekend - HEAVY

It is my 19th birthday today. Possibly my worst birthday ever since my actual day of birth (true I did get born, but coming out a bloody mess from my Mother's vagina definitely can't have been too fun). I'm at home in Tunbridge Wells and I have to stay in to look after our new puppy (Alfie), which involves patting him on the head constantly, stopping him from getting on the sofa and taking him for a shit in the garden every hour. Also, if he pisses or shits or pukes in the house I'm gonna have to clear it up. PRAY THAT DOESN'T HAPPEN.

I'm just gonna sit here and watch Die Hard all day.

HOWEVER this weekend is gonna be an absolute smasher:

TONIGHT - RUSKO @ DIGITAL, BRIGHTON


I'm not a Rusko fan in any way but I have a massive soft spot for the Jahova VIP

TOMORROW - THEM @ RHYTHM FACTORY, WHITECHAPEL


SATURDAY - DMZ @ MASS, BRIXTON

SUNDAY -FWD>> @ PLASTIC PEOPLE, SHOREDITCH

N-TYPE
RAMADANMAN
ONEMAN
THE HEATWAVE
BRAIDEN

PLASTIC PEOPLE
147 Curtain Rd, EC2

8:30 - 12:30
£5 B4 10 / £7 THEREAFTER

WWW.ILOVEFWD.COM

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



If I can last, this will be spectacular.

This is better. Far better.

Found a radio rip of Skream playing a tune I've been trying to find for a while. It's a jungle tribute called Burnin' Up and it is off the hook:

http://www.zshare.net/audio/52346937d8faf04b/

ALSO I did track last night which is pretty weak but if you wanna check it out here be the link:

http://www.zshare.net/audio/59243436628699ed/

Let me know what you think

CLAP YOUR HANDS

This is ridiculous. I was on dubstepforum.com last night and there was a post about new Skream track with people writing shit like 'this isn't dubstep' and 'if anyone else but Skream made this no one would like it', and if I'm honest I think it's pretty obvious where these seemingly hyperbolic statements come from. As aforementioned, this track is ridiculous. It's got the whole early 90s hardcore thing going on, but goes far further than that. There are 4/4 drums throughout and some heavy synths pulsing with about 32 bars of respite from a drum break (well, clap break) before the whole thing gets some half time treatment. Annie Mac talks all over this, introducing it as from the guy who did that La Roux remix. I would love to imagine the ones who've only heard that remix listening to this and wondering what the fuck is happening...

Although many will hate this, it can't be denied that this stands as a testament of how diverse a producer Skream is and how far the fella's come since Midnight Request Line and the like.

Also there are rave horns all over this joint. SO MANY RAVE HORNS.

Gold pressure launch mix

I'm gonna start posting as much as I can on this blog and, with luck, do it properly. Just cool stuff and possibly some stuff I've been up to.

Here's a mix I did about 2 weeks ago. I'll try and do and post as many as I can but I don't have my decks with me in London so maybe not for a while until I have them with me. The mixings a bit off but the tunes are PURE FIRE

Tracklisting:

Darker Than East Ft. Target - Dusk + Blackdown
E. Motiv - Pinch
Humber - Ramadanman
Focus - Dusk + Blackdown
Give Jah Glory - Digital Mystikz
Miracles (Jamie Vex'd Remix) - Starkey
Mu5h - Zomby
Snake Eater - Joker
Trial Run - D1
V - Distance
Murda Sound - Bar 9
Badman Place - Smut
Sirens - Seven
Wobble That Gut - Skream
Go Tell Them - Benga
Right Road to Dubland - Surgeon

Download:

http://www.zshare.net/audio/5889388578a449e7/