Best of 2009

It's that time of year again, I'm in work and feeling self indulgent. Perhaps slightly predictable but reflects a vintage year for a handful of standout artists.

Artists of the Year:
Nick Curly – Mannheim’s finest has released a succession of critically acclaimed EPs and remixes all whilst running two of Germany’s best loved labels, Cecille and 8-Bit. His workload has been second to none thanks to a heavy touring schedule including several well received performances in Ibiza.
Zomby – Put out the year’s best EP, finally started showing up for shows and released an epic amount of remixes and solo projects. From 8-bar Eski mixes exclusively for Duck & Blackdown to cat walk shows he did it all.
L-Vis 1990 – The enfant terriblé of UK bass L-Vis 1990 ran one of London’s biggest and best bass nights (Night Slugs) and released a slew of tracks on labels inc. Mad Decent. He also contributed to the acclaimed Curb Crawlers blog and released a string of superb remixes.

Labels of the Year:
Cecille – A stunning array of releases maintained Cecille’s position as the ultimate label of minimal tech/tribal house. Though critics decry it’s somewhat dilettantish obsession with tribal sounds it’s hard to argue against their impact on the dance floors.
Dirty Bird – 2009 truly was the year the San Francisco label came of age. Owner Claude Von Stoke released his second full length ‘Beat that Bird’ as well as a string of superb singles including ‘Greazy Beat’, a collaboration with Bootsy Collins, whilst a string of young upstarts including Zombie Disco Squad, Donk Boys and Style of Eye bought a touch of the bizarre to dance floors across the world.
Wireblock – 2009 was Wireblock’s last year but releases by Ghosts on Tape, Emvee and stalwart Rustie, alongside a host of reissues (including Hud Mo’s fanatastic ‘Ooops’) guaranteed it went out with a bang. Owner Jackmaster promises that the run will continue with his new joint-venture Numbers (= D2S, Wireblock and Stuff)

Clubs of the Year:
Fabric (London) – 2009 saw the Farringdon super club celebrate 10 years with some 36 hours of continuous clubbing. Despite this monumental run Fabric remains cutting edge inviting promoters and acts from across the board to grace arguably the finest sound system in Britain.
Dalston Superstore (London) – Vogue called it the ‘coolest club in Britain’, they weren’t wrong. Integrating a friendly neighbourhood vibe, with an outrageous clientele and cutting edge dj’s 2009 saw Dalston Superstore establish itself as THE club for London club kids.
Circus (Liverpool) – The joint venture between long-time promoter Richard McGinnes and former Cream resident Yousef continued to go from strength to strength, attracting bigger guests than ever before. December saw the club reach it’s pinnacle as Sven Vath’s Cocoon night arrived with guests including Steve Lawler, Joris Voorn and Loco Dice.

Tracks of the Year:
Juan Maclean – Happy House (Chateau Flight Remix) – I’ve not stopped playing this for the past month or so. Grown up, warm house music coupled with mild vocals and wonderfully uplifting drops. A superb record.
SIS – Wu Wim Du Wa – After storming 2008 with Trompeta and Nesrib SIS returns with a far more restrained affair: 9 minutes of moving tribal house blending amassed choral tones with skitteral drum patterns and all manner of loops. Music for your head as much as your feet.
Ghosts on Tape – Predator Mode (Roska Remix) – I first heard this on the fantastic Wireblock Mix for Resident Advisor. Whilst a lot of Funky tracks come across as paper thin Roska’s effort is remarkably deep, with intricate treble stabs and vocal snippets. As ever the percussion work is superb.

Albums of the Year:
Raekwon – Only Built 4 Cuban Linx Pt. II – I’ve not taken this album off. Lyrically one of the most accomplished hip-hop records in years. In 100 years this will be recognized as literary fodder.
Zomby – One Foot Ahead of the Other – A contorted mess of an EP which sucks the listener into Zomby’s weed warped mind. Needles of colour are projected as the ear drums whilst the kick throbs lucidly. Compelling.
Super Furry Animals – Dark Days/Light Years – The Furries could have released a recording of Gruff Rhys eating a stick of celery and I’d have liked it. Wonderfully crafted pop tracks in the truest/purest sense.

Late contender for tune of the year?

Picked up Part II of the Juan MacLean's 'Happy House' Remix series featuring the brilliant Chateu Flight whose contribution fuses a clear, crisp beat with wonderful vocals and some great percussion work. Check it here, well recommended.

This year's biggest comeback (after Raekwon)

Really didn't see this one coming....yes R. Kelly, arguably the biggest name in R'n'B is back with a new track. Like a lot of his output of late it's totally original and could only come from a man who wrote, starred in and yes sung his own 'hipopera'.

I'm not going to give too much away but check it out here

some of the lines are gold:
Never felt nothing like this,
she’s more than a mistress,
bout to handle my business and put that girl in my kitchen

Zinc - Essential Mix

It's been a quiet few months for the Essential Mix following some massive mixes in the first few months of 2009 (Jesse Rose, Joris Voorn etc) and of course Garnier/Lawler in successive weeks in May. However this week saw a real return to form with Zinc stepping up to showcase his 'crack house' sound. Anyone who's seen him over the past few months will know that Zinc has (thankfully) given up DnB altogether and has focused more on a bass driven 4x4 sound embracing the jacking 'fidget' sound of the Count & Sinden and the harder edge of funky i.e. Hard House Banton, N.B. Funky. Check it here

Real standout is the Ms. Dynamite vocalled 'Wile Out'. Basically it's her MC-ing over Blunt Edge but it really works in the dance and has been getting cained on Rinse amongst others. Listen here

Free Hatcha Mixtape

Coursety of Blackdown (big up) is a free Hatcha mixtape from late 2001/early 2002. It features the clipped minimal sound which defined early dubstep and features multiple dubs from the likes of Skream, Benga, and Benni Ill (of Horsepower Productions). Enjoy it here

Tracklist (according to Skream)

Skream and Benga - The Judgment
Benga - Star Wars
Skream - ?
Skream - Dubsteppa
Macarbre Unit - Its All About
Benga - Skank
Benga - Skank VIP
Jameson - Switch
Skream N Benga - WAR BOOTLEG
Dubchild - Roll That,Light It,Smoke It
Benga - The Virus
Skream - The Bug
Menta - Jacknife
Jammin - Tonka - Menta Remix
Benga - Full Cycle
??
Benni Ill Vs Hatcha - Highland Spring
Skream - Futures Dark
Skream - CapeFear

Oxia - Whole Life

Number 1 on last month's Resident Advisor is a slab of tribal heavy house from France. Really enjoying this one, heavy rotation from Anja Schneider, Sven Vath, Luciano etc

Check it here

A while out the game

Sorry about the lack of updates, only a handful of people read this stuff anyway....

Of late two things have stuck out to me: One, dubstep is pretty much done. Two, Ricardo Villalobos is possibly the most exceptional artist of the decade.

First things first, dubstep. In 2005/6 it was without question the most exciting thing in the world of electronic music. Guys like Skream, Loefah and Shackleton's application of a minimalist aesthetic (especially the latter) to the 2 x 4 template of UKG and Grime created a sonic landscape of distinctly British sound. The clubs were drenched in sweat and the bass was deafening at times but the energy and intensity of the music was something else. But now? The most exciting producers still associated with dubstep (Bok Bok, Dead Boy, Jam City, Oneman etc) are moving into new territories way down at 130-136 bpm, whilst the void up at 140 seems almost solely occupied by sub-wobble donk for students and cheap soundsystems. Plastic horns coupled with the 'womp' of Caspa, Rusko, 16 Bit etc has essentially created the lowest common denominator of the 'ardcor Continuum. It's sad but it's becoming unlistenable. Basically dubstep seems to have become everything which is wrong about drum and bass, and drum and bass fans in particular (no offence to any on here, but post-97 it's all a bit.....rubbish)

Two (far more uplifting)

fabric celebrated it's 10th brithday bash of late with quite honestly the mother of all shindigs. For a full 32 hours the club was going all guns blazing (and for a fair few more on Monday morning in chill out mode). I was only there for Sunday afternoon/evening but it was undoubtedly one of the most uplifting experiences of my life. The crowd was superb: up for it, unpretencious and teeming with pretty girls with smeared mascara...nice. The real draw though was the music: Ivan Smagghe, Steve 'The General Bug', Rub-n-Tug, Daniel Bell, Daniel Wang, Nacho etc were all straight fire but one man above all made it the great event it was: Ricardo Villalobos.

Villalobos is without a question the most innovative man in dance music over the past few years. His dancefloor productions (MDMA, Lugohitz etc) are impeccable but anyone can make a dancefloor banger these days. What really sets him apart are the dynamic shifts and subtleties within his music, whether remixing Shackleton or blurring the lines between Berlin MnMl and Chilian Folk he is always in total control. In all honesty I was a little worse for wear during his set but the mixing and track selection was impeccable. I've been to fabric mulitple times but no-one has worked the dancefloor like that. Majestic, the subpar dubstep boys could learn a lot.

Upcoming in the next few? Dead Prez/K-Lash at Koko next Friday followied by the Trouble and Bass Crew at Fabric with Herve and Zombie Disco Squad. Missed Nat Self at T-Bar this weekend (did see Anja Schneider though, wicked set how anyone can make 'Diva' sound fresh again has got to have something going for them) so really up for ZDS.

Also tracked this down: http://www.youtube.com/watch?v=6I05QvTXMys it's by Luciano and is without question one of the biggest dancefloor bootlegs I've heard in ages. It really stands out from the Michael Jackson refixs coming out left, right and centre.

Derrick May Live in Paris

New mix from one of the Godfathers of Techno, Detroits very own Derrick May. Recorded on Sept 19th at 'Techno Parade' this mix showcases The Innovator's superb mixing style and features some classic tracks as well as some fresh dubplates. Well worth checking out here.

New Kode 9 Interview

Steve Goodman a.k.a Kode 9 a.k.a arguably the most important man in British urban dance music offers his thoughts on the new Hyperdub compilation. Engaging stuff, well worth checking out here

Hyperdub Anniversary Compilation

One of the most anticipated releases of the past few months, grab it here:

http://rapidshare.com/files/285673547/Various_Artists_-_Five_Years_Of_Hyperdub_HDBCD005_CD1_2009.zip

http://rapidshare.com/files/285688142/Various_Artists_-_Five_Years_Of_Hyperdub_HDBCD005_CD2_2009.zip

Dizzee Rascal - Tongue 'n Cheek

In 7 years and 4 albums Dylan Mills a.k.a. Dizzee Rascal has gone from being one of the most respected Grime MC's out there to National Treasure status; winning pludits, critical acclaim and (following 3 successive number 1 singles) commercial acclaim. It's been a totemic rise, one that's even more remarkable when you consider the subject matter of debut offering 'Boy in da Corner'.

A dark gritty album punctuated with gutteral beats and street level wittism, Boy in da Corner was critically lauded- winning the prestigous Mercury Music Prize, but failed to propel Dizzee to commercial success. His follow up, 'Showtime' recieved somewhat mixed reviews. Despite an impressive single in 'Stand Up Tall' it lacked the imagination and dexerity of his debut. More recently 'Maths & English' saw Dizzee dice with arena sized hip-hop beats with mixed success. Though 'Pussyole' and 'Sirens' became veritable anthems, ill judged collaborations with Lily Allen and Arctic Monkey's Alex Turner seemed to sully the record.

As sales dwindled Dizzee was at a cross roads. Rather than retreat into the shadows of the post-UKG pirate radio scene from which he emerged he linked up with Scottish super producer Calvin Harris to record, arguably, 2008's biggest anthem 'Dance Wiv Me'. This record more than any other seems to perfectly encapsulate Dizzee's take on life; fun, carefree and filled with young, attractive women.

Although Dizzee is clearly trying to latch onto traditional saucy British humour (think the Carry On films) Tonuge 'n Cheek often comes across as being riddled with laddish injokes. Lyrically Dizzee sounds not unlike 2 Live Crew of the 69 Boyz for 2009. The album's two dominant themes (as with many/most urban records) are girls and money. But even Dizzee seems unsure of his views on them. Whilst 'Dirty Cash' offers up criticism of post-Credit Crunch greed Dizzee is only too happy to extrol the virtues of "money money money, girls girls, cash cash" on the aptly titled 'Money Money'.

Freaky Freaky sees Dizzee boldly proclaim "I like that kind of girl / You didn't even need to ask her name / Can you believe it? / She was sucking my dick, you should have seen it / Sprayed in her mouth, then watched her kiss her boyfriend." Although sexist bravado is hardly new in the rap game it marks a clear shift in Dizzee's observations of lust when compared to the modern day battle of the sexes that was 'I Luv U'.

Lyrical contradictions aside Tongue 'n Cheek showcases Britain's most successful MC in funloving mode. Monster hits 'Bonkers', and 'Holiday' showcase Dizzee's ear for an anthem whilst 'Chilling wiv da Man Dem' is from the same lineage as his early Jungle pirate radio slots and Maths & English's 'Da Feeling.' Though commerically viable these tracks do seem heavy on the novelty factor with cheesy trance synths and references to Playstation games providing little in the way of substance. Production wise Dizzee also seems to have taken his eye off the ball. Though he claims to be a contender for Pop stardom he fails to make it to the next level- currently occupied by (amongst others) The Neptunes, Will.I.Am and arguably his former collaborater Calvin Harris.

I have no doubt that this album will propell Dizzee to stratospheric commerical success but in my view it lacks the clinical execution of his previous efforts. With fine honing he could become a real contender to the long-term viability of stadium sized producers/artists like Jay-Z and Kanye West but on this offering he lacks both the lyrical wit and artistic vision to achieve such corinthian heights.

Ryan McGinley comes to London

Bit late posting this, but well worth checking out one of the most iconic modern American photographers.

Raekwon - Only Built 4 Cuban Linx Vol. II Review

It's without a hint of hyperbole that I can say that this record is the most eagerly anticipated record in Wu-Tang, if not hip-hop, history. Although Jay-Z's 'Blueprint Vol. II' has claimed the column inches it's hard to overlook the latest offering from Raekwon the Chef. Ladies and Gentlemen '...Cuban Linx Vol. II' has arrived.

After a mere 15 years of waiting arguably the greatest lyricist of his generation has finally delivered a follow up to his critically lauded solo debut. Vol. I effortlessly fused stone cold, skitteral production with lyrical dexterity, drawing on abstract metaphors and motifs to portray the grim realities of the 'thug life'. Though critics may suggest that Raekwon sought to glamourise drugs and violence the stark realness of his lyrics clearly exposed the misery, death and destruction of a ghetto existence. In many ways Vol. I was closer to the films of Martin Scorsese and blacksploitation movies like 'Across 110th Street' than his 'Gangsta' contemporaries. The early 90's saw the rise of G-Funk, and whilst getting your swag on to Snoop may have been fun, his tales of excess lacked the subtle or intelligence of the Wu- arguably Hip-Hop's most important and innovative group.

But what of Raekwon's contemporaries today? In all honesty hip-hop, commercially at least, appears to be on it's last legs. the sonic ferocity of Crunk is little but a novelty, modern day 'Gangstas' like 50 Cent lack any semblance of menace or integrity whilst commercially viable acts like Kanye West appear to be more interested in releasing novelty trainers and embarrassing themselves on red carpets than in producing relevant music. Against this soulless background the 90's revivalism of Rae seems like a breath of fresh air.

Introductory track 'Return of the North Star' fuses the romantic notion of prohibition era Gangsters with sombre warnings of "another nigger cheating you out your money" juxtaposed against the description of a vision in which Rae is seen "onstage at Madison Square Gardens". The listener is immediately transported back to 94, Rae may be off the block but this record is a reflection of his former reality- a theme continued throughout.

The first proper track 'House of Flying Daggers' is a statement of intent if ever there was one. J Dilla posthumously contributes a weighty beat, sampling the Four Tops. Whilst vocal contributions come from Inspectah Deck, Method Man, GZA and Ghostface Killah. Again the Clan's past are referenced (this time in the form of Kung-Fu motifs) leading one to question whether this record has arrived too late? Those concerns are dispelled a run of tracks taking in production from Prince Paul (Sonny's Vision), Marly Marl (Pyrex Vision) and RZA's masterpiece 'Black Mozart'. Despite opening with a kung-fu B-Movie sample RZA reworks 'The Godafther Theme' and adds layered vocals to remarkable effect. The chorus "You better get that money, no matter, what you do. You gotta get that money, and represent your crew " appears on paper to be a chant glorifying gang loyalties but in reality it is a mournful death march whilst the couplet "As reaper stay sprayed, still niggas is smoked. Four in his pocket, a diamoned up chain and some coke" shows the harsh contrast between material fetishism and the reality of life in a gang.

Considering the range of producers on this album it is ironic that the records strongest moment comes in the form of 'New Wu' a track produced by one Robert Diggs. Again RZA's production mournful; 808 snares matched against the solemn tones of little known sould group The Magictones. The rapid fire delivery of Ghost provides a perfect foil to this as he spits "Bulletproof tuxes, knuckle games is clarkers and busters. Eighteen niggas, bringing the ruckus" at double quick speed. Rae's own contribution is no less impressive using visions of marauding Romans to describe his crew, stating with no bravado "Make a move and get blown off the planet." Delivered by a lesser MC this line would appear to be an empty threat, from Raekwon it's a promise.

The album's middle section doesn't let up with Dilla and The Alchemist providing strong contributions in the form of 'Ason Jones' (feat. O.D.B) and 'Surgical Gloves' respectively. The topic rarely strays from the hyper reality of Rae's narratives of cooking and selling drugs, however lines such as "we living off fear" dispel any sense of glamour. Though often emotionless Raekwon's journey through the darker side of New York is revealing and is in many ways comparable to the social exploration of Dickens or Joyce. When Seamus Heaney described hip-hop as modern poetry he may well have had a point.

Although always engrossing it is debatable whether this record needed to be a full 22 tracks deep. At times it can come across as almost too much of a mixtape thanks to the sheer range of producers on show and at little over 1 hour in length several tracks seem like filler efforts. Despite this it is near impossible not to drawn into this record. Vocal complexities are matched by impeccable beats and reinvent the soul sampling format that has been hijacked in recent years.

So has Raekwon returned with a 'fresh' innovative album? the simple answer is no. However, though all the motifs seem to point to a simple thug formula Raekwon succinctly develops an introverted, and raw look at the ghetto. Whilst the 'ghetto bred capitalistic mental' as defined by Immortal Technique has become synonymous with the glorification of violence Raekwon eschews such simplicity. Power is juxtaposed with death, the grim reaper looms heavy and mournful tones are bought to the fore- the RZA showing why he is the most intelligent producer of all time.

It would be easy to dismiss this record as a rehash of it's predecessor, but it is hard to fault a record which combines grit, romance and reality so brilliantly. Subtlety is a premium here and when coupled with paranoid, skitteral beats it is a winning formula. This album was never going to match Vol. I but it is one of the most impressive bodies of work (despite lacking any clear singles) the world of hip-hop has produced for a long time. Has Raekwon saved hip-hop? In his own words "Fuck saving hip-hop we bringing the streets back". He has done just that, the streets of GZA's 'Cold World', Ghost's 'Yolanda's House' and his own 'Ice-Cream' Street laced with fear, loathing, death and spectres. If you want a record to posture to look elsewhere, if you want an evocative take on modern day inner-city USA step right this way.

How can Hip-Hop be dead if Wu-Tang is forever?

This video's gotta be seen to be believed. HUGE new track from Raekwon the Chef, taken from the long awaited Only Built 4 Cuban Linx Vol. II. Can't embed but check it here

Full review to come

Liverpool Heads Up

Back for another round, Liverpool's biggest/freshest of a reggae come dubstep night TAKEOVER returns on Friday October 2nd at the Zanzibar Club on Duke Street. Featuring Rinse FM's very own Syncro b2b with Indigo , Leeds 2-step duo Submerse, Double and Heala, Redshift Sounds and top boy Organik this promises to be a night of epic proportions.

Terror Danjah- Industry Standard Vol. IV

Whilst the whole world (or at least the world of London pirates, blogs and music ‘zines) seems to be going crazy for Hyph Mngo this week sees the release of an equally impressive and perhaps more important record from the ‘nuum. Straight from Planet Mu is Terror Danjah’s ‘Industry Standard vol. IV’. Danjah is regarded as possibly the best grime producer of all time, bringing a ridiculous amount of synaesthesia enduing sonic sounds to his take on grime. This release features 2 reworkings of the essential ‘Zumpi Hunter’ riddim a track that’s received coverage from across the board, becoming a staple of sets by Logan Sama, Prancehall, Spyro etc.

The first version is an updated V.I.P mix, featuring superior mastering showing the true depth of production. The second mix comes from Swindle and is very much in keeping with the current trend for Bristol’s ‘Purple Wow’ sound. This sublime mix adds vibrancy and a deeper melody to the synths, inducing the listener in before launching into a crucial breakdown loaded with 808 claps. Though redolent of Joker, Gemmy etc this track stands alone in taking ‘Purple’ back to its grimiest origins and displays versatility making it perfect in the dance or at home.

The B side comes loaded with two new riddims. ‘Stealth Mode’ is a dubstep influenced banger where nasty bass lines meet intimidating percussion. Though plastic thugs like Caspa try to sound menacing they seldom (if ever) reach the intensity of Danjah’s production as displayed here. ‘Sidechain’ is simply a hidden gem. Taking a tough 4x4 beat and loading it with synth stabs and LFO effects Danjah produces a hypnotising track complete with a multiple of 4 bar break downs. It’s an emboldening track that sounds not unlike Dexplicit jamming with the Neptunes- heavy but simultaneously well-made, hedonistic and uplifting.

Whilst Joy Orbison will no doubt get the column inches Terror Danjah has quietly released 4 astute tracks of intelligent urban dance music. Well recommended.

Stealth Mode
Zumpi Hunter (V.I.P Mix)

Techno Road Documentary Mark II

News just in that Swiss/Chilean uber-producer Luciano will, like sometime collaborator an long-term friend Ricardo Villalobos, be releasing a film. Unlike Vilallobos Luciano will be giving away his effort for free to in special edition copies of his forthcoming 'Tribute to the Sun' album. The movie (directed by Raphaela Sibilla) clocks in at just under an hour and chronicles Luciano's recent tour of South America.

Check the trailer:

Villalobos: The Film

Arguably the most important man in techno over the past 10-15 years Ricardo Villalobos is to be immortalised in film by German director Romuald Karmakar. Karmakar whose previous works include '196 BPM' (a biopic, single take look at 2002's Love Parade in Berlin) and 'Between the Devil and the Wide Blue Sea' (an exploration of the techno/house scenes in Ibiza and Berlin) announced via his website that the film's premier would take place at the 66th Venice International Film Festival in September. Like much of Karmakar's work the film will be a documentary; showing Villalobos at work in Berlin's Panorama Bar and during his stay in Ibiza last year interspersed with interviews with the Chilean techno producer "on how he thinks, how he hears and how he produces his music".

Check the trailer

Cheap Thrills Vol. 1 coming soon

News just in that Hervé a.k.a The Count (of Monte Cristal), one half of Speaker Junk, Voodoo Chilli, Action Man, Young Lovers and one member of house tag-team Machines Don't Care has announced the release of the first compilation of tracks signed to his Cheap Thrills imprint.

Home to acts including Fake Blood, His Majesty Andre and Jack Beats Cheap Thrills has become synonymous with the oft maligned 'fidget house' sound. Despite criticism of some releases (most notably Hervé's universally panned 'Baseball Bat') multiple tracks have been absolute gold (Voodoo Chilli's 'Street Players', Action Man's 'Alarm Bell' and Fake Blood's 'Mars' in particular).

Although Hervé had suggested that this release could act as a sort of retrospective the tracklisting suggests its focus is predominantly on new releases, from a range of new artists, which should help to keep fans both old and new entertained.

It's due for release on October 5th with a tracklisting as follows:

CD1 (Unmixed)
01. Jack Beats - U.F.O
02. Fake Blood - Fix Your Accent
03. Project Bassline - Drop The Pressure (Jack Beats Remix)
04. Trevor Loveys - Organ Grinder (The Count aka Hervé's "Big B Morgan" Remix)
05. Action Man - Zombie Dance
06. Fake Blood - Mars
07. Hervé & Kissy Sell Out - Rikkalicious (Club Mix)
08. High Rankin - No Money For Guns
09. Hervé feat Marina Gasolina - Baseball Bat
10. Speaker Junk - Outside
11. Hervé & Jack Beats - Rainstick
12. His Majesty André feat Bloody Beetroots - Puppets
13. The Glamour - Rubbin & Bumpin
14. Max Morrell - Seelikio
15. Hervé & Kissy Sell Out - Everybody (vocals by Hervé)
16. High Rankin - Clarence Baskerville 2

CD2 (Mixed)
01. Jack Beats - Labyrinth
02. Max Morrell - Seelikio
03. Hervé & Jack Beats - Rainstick (Bushfire Remix)
04. Max Morrell - Back Yard Riddim
05. His Majesty André feat Bloody Beetroots - Puppets
06. Fake Blood - Fix Your Accent
07. Gigi Borocco - The Rhythm
08. Speaker Junk - Outside
09. Detboi - Get Low
10. Fake Blood - The Dozens
11. Trevor Loveys - Organ Grinder (The Count aka Hervé's "Big B Morgan" Remix)
12. Jack Beats - U.F.O
13. Martello feat Hervé - Wasted
14. Action Man - Zombie Dance
15. High Rankin - No Money For Guns
16. Project Bassline - Drop The Pressure
17. High Rankin feat. Gyto - Bubble & Squeak
18. Dub Frequency - Felton Skank (Dub Mix)
19. Trevor Loveys - Organ Grinder (High Rankin VIP Remix)

Just Todd Edwards mix

Beloved by fans of house and garage on both sides of the Atlantic Todd 'The God' Edwards is established as one of the dons of the 2-step scene which swept the UK in the late 90's and early 00's. In this mix dj Retrend pieces together 25 Edwards classics both old and new. Whilst some tracks i.e. remixes for Daft Punk & the Klaxons are aimed solely at the dancefloor others explore more ambiguous territory as Edwards punctuates his beats with thinly vieled religious messages ('Saved my Life', 'Sweet Jesus' etc). Edwards' own Christian faith is well known, hence nicknames 'The Messanger' and 'The God' (though avid fans suggest this is solely in tribute to his production skills) though how he squares Christian sobriety with his popularity amongst hedonistic clubbers is anyones guess.

Look out for taught melodies, and exceptional percussion work from a true legend. props to Retrend for putting together this mix too...it's a lot!

Get it here

Tracklist:
Todd Edwards - God Will Be There
Todd Edwards - Sunshine Sunrise
Indo - R U Sleeping (Todd Edwards rmx)
Todd Edwards - Push The Love
Moloko - Pure Pleasure Seeker (Todd Edwards rmx)
Mantra - Away (Todd Edwards rmx)
St Germain - Sure Thing (Todd Edwards rmx)
Heist - I Thought We Were Cool (Todd Edwards rmx)
Todd Edwards - Saved My Life (Large Joints Mix)
Sunshine Bros - Thank You
Richard Les Crees - After the Rain (Todd Edwards rmx)
Kevin Yost - If She Only Knew (Todd Edwards rmx)
Klaxons - Gravity's Rainbow (Todd Edwards rmx)
MJ Cole - Crazy Love (Todd Edwards rmx)
Phoenix - If I Ever Feel Better (Todd Edwards rmx)
Todd Edwards - Time To Care
Todd Edwards - Saved My Life
Todd Edwards - Sweet Jesus
Todd Edwards - Perfect Love
Daft Punk - Face to face (feat Todd Edwards)
Sound of One - As I Am (Todd Edwards rmx)
Todd Edwards - Shut The Door
Todd Edwards - Show Me A Sign
St Germain - Alabama Blues (Todd Edwards rmx)
Somore - I Refuse (Sunshine Bros rmx)

Night Slugs Bank Holiday Throw Down

August 30th sees the return of Night Slugs, one of London's best nights featuring a plethora of the foremost urban beats out there. Dj's include residents Bok Bok and L-Vis 1990 (celebrating the release of their new split e.p. on Glasgow's Dress 2 Sweat records), Greena and N.A.S.T.Y crew member Mak 10.

Expect to hear funky, grime, dubstep and bassline: not to mention the hottest dubs out there.

It all goes down at the Vibe Bar on Brick Lane. £5 in.

FREE Techno

Courtesy of one the most highly regarded techno labels out there, Belgium's R & S, are four free tracks of high quality, if some what chilled out electronica. These tracks explore the more ambient side of R & S a label synonymous with forward thinking acts such as Aphex Twin, and Model 500.

Get 'em here

Fake Blood - Fix your Accent (Cheap Thrills)

After what feels like an eternity out of the game the mysterious Fake Blood (Theo Keating a.k.a. Touché, Black Ghost & one half of the Wiseguys) returns from the wilderness with a new three track e.p. entitled ‘Fix your Accent’ on Herve’s Cheap Thrills imprint. Although he's released a string of high-profile remixes there's been an unmistakeable lack of original material over the past year or so. Fans simply expecting a rehash of the anthem Mars may be disappointed as Fake Blood persues a new disco-tinged direction.

Title track ‘Fix your Accent’ reminds me of Oizo’s disco material whilst ‘The Dozen’ takes a maximal Justice-esque approach to straight up house grooves complete with a jackin Baltimore breakdown. For me the stand out track is ‘I Think I Like It’ a disco-house stormer with sharp building strings and a subtle percussion line. I’ve no idea where the cut-up vocal sample is lifted from but if anyone out there does get in touch.

I doubt this will reach the anthem status of ‘Mars’ but that doesn’t deny its status as a top quality release. Though contemporaries seem to be opting for a more maximal bass-heavy approach to house music Fake Blood has stayed one step ahead of the game with a refreshing E.P. that will continue to cement his reputation as one of the finest producers in the UK right now.

Check the previews here: http://www.datasapiens.net/2009/08/fix-your-accent-ep/
Buy it here: http://www.phonicarecords.com/product/view/58109

Rustie - 'Bad Science' (Wireblock)

Although filed in the Dubstep section of many record stores Rustie’s sound seems to hold more in common with the low-slung sounds of Atlanta strip clubs than with a sound synonymous with suburban London and Bristol. What Rustie does have in common with a select few ‘dubstep’ producers, most notably Joker (with whom he recently collaborated with on ‘Play Doe’) and Zomby is a forward thinking outlook fuelled by a love of underground electronic and video games. Rustie's eclectic, off-kilter sounds is difficult to pin down with his own term 'aquacrunk' being used liberally to describe his diverse sonic offerings.

At times new E.P. ‘Bad Science’ sounds like the theme music to a secret level in Sonic 1- one in which Dr Robotnik’s minions are replaced by metallic strippers. Opener ‘Tar’ effortlessly melds the Southern beats of Drumma Boy (T.I., Rich Boy, Young Jeezy) with hypnotic, pitched synths- over which Rustie layers multiple cut up samples creating a audible blow to the senses. It’s uneasy, yet stimulating listening.

Title track ‘Bad Science’ has seemingly been around for months thanks to live airings from a plethora of dj’s including Kode 9, Wireblock head-honcho Jackmaster and Kiss Fm’s Sinden. Again, Rustie employs wind up samples and bleeps over 808 kicks before launching into a, quite simply, huge drop which speaks not of sweaty, underground clubs but of main rooms. Put simply; it’s rave fodder in its purest form.

Although evocative the futurist sounds employed by Rustie need to be put in some perspective. Though original Rustie’s sound clearly has one foot firmly lodged in the past; owing a massive debt to late 80’s and early 90’s video games and early techno. In this sense Rustie’s music is a continuation of the principals of ‘space music’ first alluded to by Juan Atkins. Furthermore, it may be suggested that this E.P. acts as part of a growing trend towards ‘futurist revisionism’ or a modern reinterpretation of cultural movements musically expressed by a diverse cannon of artists including the Bellville Four and the second wave of Krautrock acts, throughout the 1980’s.

The reanimation of futurist principals and ideas comes full circle on the E.P’s flip-side which sees Heinrich Mueller (Drexcyia, Dopplereffekt, Arpanet etc) drafted in to remix Rustie’s ‘Zig-Zag’. Mueller’s work is synonymous with fusing the glacial template of Kraftwerk with a technological approach to music production. The result is staggering as he produces an eerie, hypnotic slice of experimental hip-hop.

Whilst title track ‘Bad Science’ suggests that this E.P. will be an exploration of the more club friendly side of ‘aquacrunk’ as a body of work it serves more as an example of the ever evolving closeness between experimental and mainstream electronica. Although Rustie employs a range of obtuse and unconventional samples throughout ‘Bad Science’ it remains a thoroughly enjoyable journey through experimental hip-hop; proving not only extremely listenable but challenging and greatly rewarding.

Check out 'Bad Science' here