Thursday, 27 November 2008

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.

Wednesday, 26 November 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...

Tuesday, 25 November 2008

Wednesday, 12 November 2008

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

Monday, 3 November 2008

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