May 29, 2012 § Leave a comment
With past releases on numerous innovative and revered labels Cyrus has constantly been pushing away with his vision of the original sounds. His second outing on Chestplate is welcomed like a warm embrace from an old friend. Over the two tracks, he shows that he isn’t one to bow to trends and pressure and pushes what he knows so well.
A-side Nostalgia opens the release with a fluffy, but weighty kick drum and delayed vocal line dotted around a simple yet very effective hi hat pattern. Into the drop, the sub line takes you a little by surprise, as instead of straight power it weaves up and down in pitch but never relenting and never losing weight. Occasionally glimpses of melody are left to shine through with a modulated pad sound that offers a light at the end of the tunnel.
B-side Rupture is a slightly more rolling affair utilising heavily effected snare hits and what sound like snippets of an office fan oscillating to set the groove. Repetition is a common complaint against a large amount of electronic music, but with Rupture it helps Cyrus show he has a firm understanding of the ethos “express the utmost with the minimum”. Dropping in after a vocal sample exclaiming “time to lay down serious sounds”, the low end forgives brute force for subtlety and class, Moving through the track like an old dub reggae bassist would. Whilst grainy sounding synth stabs and drones punctuate the track every so often and help add to its slightly misty ambience.
This is a reminder of where dubstep has come from and what its always been about for those in the know.
May 10, 2012 § Leave a comment
Maths Time Joy emailed us a little while ago and we were pretty impressed with the music. Deciding to break away from the dubstep orientated sounds we normally cover, we asked MTJ to provide us with a mix and a little insight into his production process, why sampling is an art form and where he plans to go next…
Ez, can you let our readers know who you are and how long you’ve been producing for?
My real name is Tim Worthington, but I’ve been working under the name Maths Time Joy for a few years now. I’ve been fairly musical since about 15, playing bass and guitar in some local bands but I guess I started producing around the age of 17. I got hold of a copy of Fruity Loops and just started out producing more straight up hip hop and dance music really. My brother used to listen to a lot of hip hop especially ‘2001’ by Dr Dre. I think that is the first album that really got me interested in producing. I only really focussed on producing seriously about 3 years ago when I went to Uni. I met a guy there and we started producing together under the name PNT Worldwyde. We’ve released an album and a few beat tapes already, generally its more straight hip hop and that new RnB sound, but he’s someone who’s kind of inspired me in regards to producing. With the Maths Time Joy stuff, it used to be more of a guitar/band sound but its recently evolved into this new, more bassy/electronic sound. I wasn’t trying to change the style to fit any kind of formula really, I guess it was just a natural progression as I got into more underground electronic/dance music.
With your free track Faces, what references did you draw on when you were writing the track both vocally and from a production stand point?
The track ‘Faces’ is the first single from the new Ep ‘Lightyears’. I chose it as the single I guess because it best represents my new style. The main vocal part of the track had been around for a while as I’ve been writing more singer/songwriter based music since I was a teenager. Once I’d produced the track I was trying to write some new vocals and this older idea just kind of fit well. My lyrics generally are about relationships, but a lot of them are quite ambiguous and not about 1 specific event, more just a mixture of memories/emotions. I’d say Flying Lotus is my main influence in terms of this kind of production. He kind of created a whole new sound which a whole new group of producers have tried to emulate. I think the main inspiration for me is the textures and sense of space within his music. I’d like to think my music could be appreciated through headphones in the same way.
Your mix for us showcases vibes that are a little different to what we normally touch upon, would you say its reflective of what you would play out in a set or more what you’d listen to when you’re chilling at home coming through?
This mix is really just music that influences my production. I’d like to think my sound is quite diverse and comes from a range of influences. I think really what I’d play out in a set, and what I’d listen to at home are generally quite close, although I listen a lot of slower guitar and piano stuff like Bon Iver and some of James Blake’s music, which might not really suit a club setting. Obviously Hip-hop is quite a big influence, generally the older more sample based stuff like Dilla and Dj Premier. Hopefully people will be able to see where my inspiration comes from with this mix, I guess its kind of an introduction to Maths Time Joy.
With what you said about sample based hip hop being a big influence, what is it about those old boom bap beats that sucked you in?
I think once you learn to appreciate sampling as an art form rather than just stealing other people’s music, then it opens up a lot of possibilities. If you listen to a DJ premier instrumental alongside the original track, its hard to see how he even heard the sample within the song. I think the main thing i like aside from the samples is the drums. Drum sound is something i spend ages on, i think its one of the most important things, apart from melody of course
You mentioned your current sound being one you progressed to overtime, where do you see your work going in say, five years or so?
It’s hard to say really, I’d imagine it wont sound much like the current stuff. I think I would get bored if i stuck to the same sound/method for too long. I always like to try new ways of doing things, or draw influences from other styles of music. I think genres are becoming much less important within modern music, I guess the internet has helped because it means artists aren’t tied down by location anymore and they can get music from all over the world instantly. Most of the time I wont sit down and say ‘I’m gonna make a track like..’ and then base it on another artists sound. I think as long as it comes naturally then I wont mind where the sound goes. It seems to be a good time for electronic music and beat music, there’s loads of new sounds coming out all the time.
Everyone has dream collaborations, who is yours with and why?
There’s a lot of MC’s I’d like to work with, Lupe, Blu, Chuuwee, MF Doom, but i try and keep the more hip hop orientated stuff within my other project, PNT Worldwyde. I do have an MC on the new EP though, I think if the feel of the track is right then it can work well over more bassy electronic music as well. In terms of other artists, I’d like to work with James Blake, or Justin Vernon. Also a guy called Chet Faker. I think anyone with a unique, but soulful voice really.Vodpod videos no longer available.
Maths Time Joy EP ‘Lightyears’ is released at the end of May.
May 7, 2012 § Leave a comment
Convex Industries bursts forth with another release from vanguard of the drum and bass scene, D-Bridge. This outing is under his new Velvit moniker and is a showcase of what he can achieve as a producer when he isn’t pushing drum and bass based productions.
Passing Encounter starts with those atmospheric pads you’d be likely to hear in the jungle styles of LTJ Bukem and the producers of that era before breaking away into a hip hop reminiscent, heavily percussive 808 leg shaker.
Scarlett is a 4×4 whirlwind underpinned by an ever classic reese base. Driving forward, sparse percusssion draws into an uneasy lead line replicative of the sounds of Vangelis’ Bladerunner score.
As a release, its very indicative of how much of an accomplished producer D-Bridge is that he can switch his styles with this new project and it not sound forced.
Full release is available on the 14th May 2012. Digital available via Surus now.