Dazed & Confused Exclusive ‘Back to 92’ mixtape download

Werk and Zomby have put together an exclusive Rave mix for the Style and Culture Magazine Dazed & Confused. Download it Here

Zomby Talks To Dazed & Confused Magazine

Zomby 2 Orbital

Our faith in Radio 1 DJ's restored.
Rob Da Bank
Listen again here
1st December 2008
Zomby - 'Where Were You In '92' (Werk)
Orbital - 'Chime' (London)
Franz Ferdinand - 'Ulysses (Jake Bickerton remix)'
Gaslamp Killer - 'I Spit On Your Grave' (Hi Fi Obey)
Ralfe Band - 'Attics' (Loose)
DJ Medhi - 'Pocket Piano (Joakim mix)' (Ed Banger)
The Shortwave Set - 'Glitches and Bugs' (Wall of Sound)
Au - 'RR vs D'
M.A.N.D.Y vs Booka Shade - 'Donut' (Get Physical)
Mr Curtamos - 'Walk n Skank' (White Label)
SL2 - 'On a Ragga Tip' (XL)
Kotchy - 'Sing What You Want (Rusko's Skwee mix)' (Civil)
Joe Gideon and the Shark - 'DOL' (Bronzerat)
The Unbending Trees - 'Everybody's Lover'
Lykke Li - 'Little Bit (Auto Erotique mix)
Crystal Fighters in session
'Xtatic Truth'
'I Love London'
Kid Canaveral - 'I Don't Have The Heart For This' (Fence)
Telefon Tel Aviv - 'The Birds' (B Pitch)
Flying White Dots - 'Vanity' (White Label)
Turbowolf - 'Ghosthunt' (White Label)
The Early Morning Dub Appreciation Society
John Clarke - 'John Brown'
Squinancywort - 'Light Crimson Underwing' (White Label)
Buraka Son Sistema - 'Luanda-Lisboa' (Fabric)
Pitish Trail - 'Winter Home Disco (Hot Chip Mix)' (Fence)
Ian Neal - 'Kingdom of the Birds' (Platyipus Records)
Florence and the Machine - 'Dog Days Are Over' (White Label)
Filthy Dukes - ' Nonsense in the Dark' (Fiction)

Spanish Blog Finds The First X

In 2008 Zomby, along with other producers like Darkstar, Ikonika, Starkey, Rustie and even Flying Lotus, led something that could be understood wrongly as an evolution of dubstep, perhaps because the stamp of Hyperdub capitalized much of the best singles of this newborn gender, known as wonky (or aquacrunk, from a joke Rustie made in an interview) and defined by Martin Clark as a cross between hip-hop, hyphy, grime, chip tunes, dubstep, electronica and CRUNK , characterised by bubbling synth-sounds and garish colors, which is passed to the primacy of the bass on the dubstep an interest in filling the area of movement of the media.
Throughout the years I've only interested in time for some things, but now, to look back, I see the singles and albums from producers such as those mentioned at the beginning of this paragraph as one of the key pieces of the year.
Zomby, like Burial, conceals his true identity under anonymity, has published on Hyperdub and has made a disc from his fascination with the characteristic sounds of the jungle.
Now has published on the stamp-Werk the same as that produced from the superb disc Disrupt last year, highly recommended if you spent your time in the disk-Where were U in 92?, Evident from its title that its intentions arming of fun a record that has been interpreted as a very serious joke or a tribute that is not taken seriously himself. So if someone was going to accuse this record of being made from the more conservative nostalgia, something that would run counter to the hardcore continuum nature of which involves his constant reinvention, it should be noted that the disc is punctuated by preventing unplanned winks of the disc will end up being a faithful reproduction of sound from the past.
The disc kicks off with "Fuck Mixing, Let's Dance" (great title!), Which is jungle to the letter (breakbeats, apitufadas voices, serious ...). In "Euphoria" at the highest level is low with the sirens, and immersed in it, occasional remains of a melodic sense that sample Augustus Pablo. The surprises come through, causing a short circuit elements in the representation of the sound of the jungle, such as explicit nod to Daft Punk in "Daft Punk Rave", causing a rupture in the represntación faithful about concerning sound associated with some years specifically, those who are more or less 92 to 94. On other occasions, the winks are done in an indirect way, and that's what happens in "Tears in the Rain" that dialogue's and sampling the soundtrack to Blade Runner as already done DIllinja in the memorable "The Angels Fell" Included on the compilation Metalheadz: Platinum Breakz, edited by the seal of Goldie. One of the most effective sounds of the disc is that of synthesizers, in "Get Sorted" or the blunt-and simply perfect, one of the best songs of 2008 - "Float," an instantly addictive temazo, whose effect is to multiply be preceded on the disc by "GTI", which is preparing the ground for a synthetic that operates with the emotional impact needed. The subidón continues with voices chopped and overlapping layers, with a confusing effect, in "Need Ur Lovin '," a song that ends so abruptly, followed by another of the surprises of the disc, in-your wonky very dirty and unbiased crossing rave, hip hop, grime, etc. .- “Pillz”. The strident feel that Joey Beltram introduced into the hardcore continuum with its historic "Energy Flash" and especially "Mentasm" come together, or are cited in "Hench."

I have my doubts about whether to give this record a post-modern label. On the one hand the irony and citations are constants in common strategies to post-modernism, but the intentions seem to be, in this case too-sincere homage to a sound that underlies as it does today in the land of dubstep, the wonky, the Basslines, etc .- to put it in the bag usually infidel post-modernism. If it is, in fact, the disc serves as a workshop to go fast in the jungle. In any event, a record that ends with the exciting "U Are My Fantasy," which leaves you wanting more, and that makes listening to return to production prior Zomby you look at other things, not can be anything other than a triumph. If you weren't there in 92, be here in 08, as Zomby is one of the key names of 2008.

The Kats Hear It

We know we say this a lot, but this one has seriously been a long time coming, and has built expectation levels to an unprecedented high. The incredible talents of Actress have previously only appeared on a pitifully small but perfectly formed number of releases, from his inception to our personal 'Rhythm Hall Of Fame' with his 'No Tricks' 12" way back in 2004, to remixes for Various and Alex Smoke, Mr Cunningham's output has remained meagre but incredibly well respected. A good amount of his time has been taken up running the well established Werk Discs imprint, a label borne after he finished his Hyperdub night with Steve Goodman some 6 years ago, and has presented convention challenging acts like Zomby, Radioclit, Lukid, or Disrupt for our pleasure. He's since found some spare minutes to assemble this amazing set of specialized Actress styles, inviting us into the a sonic universe encompassing heartfelt Detroit house and techno abstractions, post-bump R'n'B reconfigurations and ephemeral electronica in a truly idiosyncratic style. 'Again The Addiction' ignites the set with a production sounding like a more narcotic Kenny Larkin, it's purely unhinged Detroit techno with a psyched sound design that will fry your head. 'Doggin' trips out on some warm and woozy Theo P style house vibes, while 'Ivy May Gilpin' is the first of a number of tracks which seriously remind us of the brilliant NWAQ album 'The Dead Bears' in the best way possible with a submerged and percussive house vibe achieved by very few. 'I Can't Forgive You' sits deep at the bottom of this particular ocean with an ultra slow and vibing track, flowing with slowly shifting chord changes and decorated in deliciously mottled FX textures to reduce you to a stunned mess, while 'Redit 124' brings us to the earlier sound of the 'No Tricks' EP with a razor edited 313 glitch 'n jack track sounding like Anthony 'Shake' Shakir in his prime but it's title track 'Hazyville' that's the real showstopper. It's a massively crushing electro variation that cleverly uses the compression tools at his disposal to squeeze out every last drop of robo-funk and static coated synthline pressure he can manage, turning in a truly sick wriggler that we've had on repeat. If you're still with us (/it) check out 'Green Gal' at the end, again reminiscent of that NWAQ psyche house sound, bleeping and churning with a charcter of it's own but relentlessly deep and involving to the point of emotional implosion. This album has completely lived up to the hype we'd given it inside our own heads and if you can't be arsed checking the samples, just trust us that this is the finest blend of Theo Parrish, NWAQ & Flylo style rhythm magic that you're going to hear all year, or quite possibly the next for that matter! Onwards...

Zomby, Diplo and George Romero

Lukid Interview and Exclusive Mix

Lukids taken time out of his busy schedule to talk to Fact Magazine this month about the genius of Autechre, the current "beat renaissance" and making tunes with Mark Pritchard.

He was also kind enough to put together an exclusive mix for FACT which brings to light some of his disparate influences. From the cracked electronica of Autechre to the ebullient nu-boogie of James Pants, via the windswept folk of Jana Hunter and ghost-ridden pop of Panda Bear, an inspired, deliciously opiated selection which surprises at every turn.

Download it now, and read the interview with the man himself.

Full Interview

Drop The Lime All Over "Where Were U in '92"

"Yeah man, it's incredible! I absolutely love that album - it's fantastic, really brings you back to the hardcore tunes that really set me off. Like I'm a huge fan of that, Sonz Of A Loop Da Loop Era, all that stuff was really inspirational to me. So that new Zomby record… It's hot. I love it."

Full Interview

Exclaim: Zomby Review

When "nu-rave" or "new rave" hit two years back it wasn't so much an homage to rave as it was an attempt to cash in on a forgotten scene by using its still glowing corpse to ignite yet another fad to attract the media. It worked, but the stars - Klaxons, New Young Pony Club, Shitdisco, the Sunshine Underground - were as rave as Hot Chip, M.I.A. and CSS, all of whom were lumped in to help the NME sell more copies.

Enigmatic UK producer Zomby makes rave music, but not exclusively. He's a chameleon with ADD, often cramming everything from rave, grime, crunk and dubstep to garage, jackin' house, Nintendo and bassline into whatever space he can, and without compromising the songs as a whole. Next month will see him release a new EP for Hyperdub, home to Burial and Kode9.

But his full-length, Where Were U In '92? (out on Werk Records), is indeed a faithful tribute to the music that inspired air sirens as an instrument, fluorescent colours as fashionable, warehouse busts as headline news, glowsticks as the most annoying accessory ever, E as the one and only party drug, and furry pants as the biggest no-no that ever crossed someone's mind.

As its title suggests, it's all about revisiting a time and feeling a certain moment again. When he recently spoke to Pitchfork, he summed up his intentions, saying, "I'm not looking to bring something back. It's more just my vibe I carry through the music. It's the vibe that's gone now. It's totally gone now but I remember it. That's the thing that inspires me. I write from that place." Where Were U In '92? is as much a true rave record as it is a tribute. Oftentimes, it feels as original as the fuckin' Prodigy's "Outta Space" or Altern-8's "Activ 8," mainly because he simply has the skills to make tunes on par with them. He utilizes 303s, 808s, 909s, air sirens, oscillating bass, whiplash break beats, sped-up vocals, soulful divas, they're all in there!

By Cam Lindsay

Zomby Album Featured In The Wire Magazine

The Wire Magazine add their seal of approval to 2008's hottest album!

Lukid album details confirmed

After completing a thoroughly uninspiring music technology course in Leeds, a despondent Luke Blair returned to North London with some big decisions to make. Instead, he avoided them and immersed himself in a world of daytime TV, late-night beat-making, and 24-hour existential dread. Inspired by obsessions with artists such as Can, Madlib, Theo Parrish and Autechre, thus Lukid was born, spending many a lonely night hunched over his midi keyboard, layering up wonky beats and squeezing out woozy chords. In 2007 Lukid released his astonishing debut album ‘Onandon’, made up of the kind of Rubik's Cube compositions that twist in a broad spectrum of elements to manipulate hip-hop founded electronics from dust-encrusted loops, lazer-tag beats and sea-sick rhythms, built with equal parts Cologne minimalist machine-click techno and the low swing of Detroit’s latter-day mix of cross-pollinated hip-hop, soul and house. Lukid’s mature, complex and intricately plotted instrumentals unfold with slow-burning textured detail, sometimes recalling the gravelly disposition of early DJ Shadow, yet it’s his grace, sample dexterity and excess of panache that pitch this artist oceans away from the weary blunted brigade. When a producer is able to deliver an epic widescreen vision while at the same time maintaining his “A” game, that should be cause for celebration, and Lukid has been rightly feted on boards and blogs ever since the release of ‘Onandon’. And now to ‘Foma’, a second story which introduces a darker insight into his crumbling environs, a haunting tale of deep south conversations with a Studio One foundation. In a world where artists’ influences can appear paradoxical or sometimes completely unrelated, Lukid hammers the sounds of his together into a single sheet of incredibly intriguing electronic music. You won’t already need to be in love with the languorous beat constructions of Madlib, Dabrye, Flying Lotus, Samiyam and their like to find yourself gently but emphatically knocked flat back by ‘Foma’, before being comprehensively stretched into a series of new sensual shapes.

Foma will be released 3rd November 2008

Fact Magazine: Zomby Taster

There we were last week, minding our own collective business, when an mp3 promo dropped through the (online, so not really an actual) door from Werk Discs. And of all people, it was by Zomby - he of ‘Spliff Dub’ and ‘Liquid Dancehall’ fame - with a full-length album called Where Were U In 92? And the best news? It’s excellent.

As you might suspect from the title, Where Were U is a throw-back to early nineties hardcore, fully-mixed with rave stabs, air-horns, ‘Let Me Be Your Fantasy’ and 'The Bouncer' references and bound together by Bizarre Inc-revering piano lines. It’s also the first album we’ve heard since Gang Gang Dance’s Saint Dymphna where the office is in a collective state of WOW over it. Well, those of us who’re in anyway - we’re planning the conversion of the others as you read this…

Where Were U In 92? is out on Werk Discs on October 24. Watch out for the full FACT review nearer the time.

Follow link for full transcript layout...

Zomby Album Signed to Werk

“Where were you in ’92?” demands Zomby, as he throws us full-tilt through his system-rinsing debut LP, an awesome revival of early 90s hardcore with a modern, tweaked-out twist. Already renowned in the dubstep scene, nobody familiar with his previous releases could have predicted this album; an arena-sized sweaty rush of air horns and helium vocal samples, relentless piano stabs and dark rolling basslines, all created on vintage technology. Yet amongst the classic snare breaks and re-pitched chords, Zomby still manages to easily cram in enough atmospheric dubstep, jackin’ house and even pimped out UK niche to bring this rave fully up to date. Dig out your NASA bomber jacket, get that bleached blonde undercut you’ve been putting off for so long and check your pupils - Zomby’s telling you what happened back in the day and where he’s taking it now...

Where Were U In '92
Out On Werk October 23rd 2008

Pitchfork Interview with Zomby

The Month In: Grime / Dubstep

The Month In by Martin Clark

Meet Zomby, last seen exploring the badland territories beyond grime, dubstep, garage, rave, dubstep, bassline, or kuduro. He describes his M.O. as like a confused pirate on a sonic treasure hunt, who "only has half the map" but keeps "finding 'X's." On this year's output, he's going to be one infamous pirate. Whether he's fallen off the edge of the flat earth is entirely another matter.

Zomby first appeared on dubstep's radar in 2005 with ragga bouncer "Spliff Dub", though in fairness he'd been raving and DJing for many years before. Also from that era, "Memories" evoked imagery of raves long since gone, yet it was the 12"s on Hyperdub and Ramp in 2008 that signalled he'd found a few "X's" and located himself somewhere fresh and new.

Take for example his explanation of how he built recent track "Aquafre5h": It gives you a glimpse into his mindstate and the sounds he's chasing. "I sampled some Pharrell bits'n'bobs and a Mario NES game I sampled and processed so all elements of the song are correct...I've been working with a custom palette of sound for a while now. I suppose these songs are the result of that and great skunk."

However it was created, Zomby's music has found fans in many of the current sonic pioneers of new directions, like Jamie Vex'd, Starkey, Darkstar, and even Burial. Yet Zomby's sound is most impressive when its effect on regular listeners is observed. While other producers can generate impact or momentum, Zomby dubs tend to induce a unique mix of shock or confusion; a stunned sense of "what the…?" Recent beats "Gloop", "Parrot Stew", and "Aquafre5h" feature mutating bottom ends, unstable and chaotic bass bubbles that seem to emit gasses like some primordial soup. And while Zomby's sound regularly travels into other moods, these mutating aquabass tracks are by themselves alone good enough to warrant acclaim.

"Garage is my wife. I cheated on her a couple of times but wholly regret it," he explains in interview. "Darker garage was more the sound I was planning to work with but grime was also a massive part of the jigsaw for me. Eski and dubstep really went hand in hand for me. I didn't see any difference in the style only the sounds used so I got really interested in transposing styles. Like negative imprints of other peoples beats that would be called on genre or style and then having sounds transposed would lift it into another…"

Other massive influences on the Zomby sound are rave, hip hop/crunk, house and kuduro and in this he's found kinship with acts like Darkstar, Rustie or Joker. But despite moving in similar orbits, Zomby still remains alone, isolated on his own trajectory, spending nights in on the 'net consuming music old and new on YouTube, mentally recyling it through a skunk filter and rebuilding it, wrongly but oh so right.

"It's not so much a new direction," he says of his sound, "it's just about writing real songs or tracks that are justified in more than one sense. Nothing novelty or formed for its own sake is really doing it anymore. Every element has to be looked at and analyzed and really it's a state of minimizing to move forward, when you've worked out how to refine what you do you can turn the taps on as such. I think that's what's started to come through now."

In interview, Zomby bares more than a few traits in common with Burial. Both are fiercely passionate about their own music, hark back to the spirit of rave for inspiration and produce fragile, unpolished but startlingly original music. It's little surprise then that Zomby declares himself Burial's number one fan, while his new side project, a throwback-to-'91 rave album on Werk is sure to appeal to fans of Burial's influences.

Judging by interviews, so much of Burial's inspiration is the bittersweet memories of raves now long since extinct, and as Zomby expounds his passion for the era, all his influences-- hip-hop, garage, dubstep, jungle, rave, kuduro, grime-- seem to coalesce into one coherent whole, now facilitated by the vast visibility of music on the 'net and bathed in the fading afterglow of hardcore. Perhaps every "what-the?" moment he creates in new listeners' brains is just a by-product of his own urge to forever re-create that first rave-rush again in his own.

"I get those rushes now man," he explains. "The songs I like make my hairs stand on end. That's when I know the song is a winner. For me there's not gonna be enough time in my life to devour all the music I want so the real rush I'm searching for I'm probably never gonna find. Eskimo was a rush. Crunk's been a bit of a rush. For me its forward ahead at full speed really. I'm not looking to bring something back. It's more just my vibe I carry through the music. It's the vibe that's gone now. It's totally gone now but I remember it. That's the thing that inspires me. I write from that place."

Actress - Hazyville LP

Its been threatening to come for a while now, but Werk are proud to announce and confirm that after a 4 year hiatus, Darren J. Cunningham otherwise known as Actress will be releasing the much anticipated long play "Hazyville" as part of the Werk Autum/Winter 2008 collection.

The album will be presented in the month of October in all good independent music store and features a selection of tracks written from 2002 to 2008.