October 31, 2012 § Leave a comment
Musically, the title track Brixton Bass is reminiscent of the first time I heard Coki play Goblin at DMZ, blunt sub bass trauma you will never, ever recover from. Sometimes you need subtlety to make your point and sometimes you need a claw hammer to enforce it. This track falls firmly into the latter of the two and does so with a relentless, almost thrash metal sounding mid line.
Empty Spaces is a more meditative affair with the ever popular reece bass resurgency puncturing the background ambience. A head nodding plodder and the sort of tune you’d expect to see sound-tracking a protracted fight scene in European martial arts movie.
Dark Future reminds me of those eighties horror movie intro pieces. Of all the tracks on the EP, this is ticking the most boxes for me. The way Tunnidge has used a melodic structure within the bass, and the driving nature of the beat gives off more of those metal tinged sounds, but this time with some droney, doom vibes.
All in all, Brixton Bass is yet another reason why 2012 has been the year of Chestplate and its sub-soldiers.
October 22, 2012 § Leave a comment
Lurka and Commodo have returned to Black Box with yet another stunning release. A-Side ‘Capisce?’ opens majestically with sampling that sounds as if it were straight from US hip hop circa 1994. With one of the nicest organ tones of recent memory, triplet hats carry you along on top of a wave of sub bass. Skanked out chords signal the midway and are supported by overdriven bouncing tom hits. Rolling through into the second half, the organ gets noodly, but not overbearing. This is pure head nod potion.
Glue Sniff Riddim has the trademark Lurka sound firmly embedded within. Its all about the stuttering, stumbling drum work laid under some of the dirtiest detuned mid range we’ve had the pleasure of listening to this year. This tune is one that will be lining the insides of many selectors bags and destroying dances from Bristol to Baltimore for a long time to come.
October 13, 2012 § Leave a comment
Cosmic Bridge is at the forefront of a new wave of producers, some known and some relatively unknown that are pushing a sound that casts itself way back to the synth driven soundtracks of the first Tron movie, the early days of Dubstep and Jokers early ‘purple’ excursions. Danny Scrilla is one of the labels roster and with the Flash Powder EP release in July, his profile in the electronic scenes has risen sharply and deservedly.
“Easy, where are you at today and where was the last time you played out?”
Last weekend in Munich where I currently live as well.
“Musically, you sit somewhere between dnb, grime and hip hop. How do you know what direction to take BPM wise when you’re in the studio, is it a set decision or can it end up switching between a few in the process before a tune is “finished”?”
These days I’m mainly producing tunes in the 80-85 respectively 160-170 bpm range. It definitely varies though…sometimes I feel like the tunes I’m working on sound way too messy at 85 but sound just fine on 80. Totally comes down to each individual track really. I don’t really want to limit myself to this particular bpm range though. I’ve got tunes on 90, 130, 140 bpm that I’m quite happy with so I’m definitely open when it comes to changing up the tempo. I always had the feeling that a lot of producers force their tunes to be at a certain tempo just because it’s what characterizes the genre they are involved in even though these tracks might sound better at a slower or faster tempo.
So inspiration wise, is it all musical, or do you draw on other things too?”
It’s mainly musical I’d say but probably in a broader sense. Doesn’t have to be a song per se. Could be a squeeking door, a purring cat, a snapping twig…sounds in general I guess.
“Berlin is the biggest underground club scene Germany if not the world, how does Munich compare? Is there an equal amount of clubs and squats and good things going down, or is it a lot more conservative?”
Having lived in both cities I have to say that there are major differences. It’s not really fair to
compare these two seeing how Berlin is more than twice as large as Munich and ruled by a way more liberal political party. The scene in Munich is fairly small compared to Berlin. Pretty much everybody knows each other even if you play completely different music or put on nights that cater to a different crowd. To me it feels like people are more supportive of each other here than in Berlin. They really need to though because it’s hard to establish good nights here. If you’re a promoter in Munich you’ll run into a lot of difficulties based on the fact that the city will slap you with huge fines if you don’t stick to their rules and regulations. Having warehouse parties or outdoor raves without a permission, which is extremely hard to get, is nearly impossible.
“When first creating tunes, who did you set out to emulate?”
I originally come from a Reggae/Dancehall background. The first attempts of creating music were inspired by this kind of music. Needless to say I didn’t really know what I was doing so the results were quite unfruitful. Back then I was really into dancehall producers like Lenky, Dave Kelly, Bobby Konders, Steely & Clevie and so on. Even though I wasn’t able to reproduce their sound back then I think you can still find traces of it in what I’m doing at the moment.
“Do you think this helps the local scene grow at a slower, healthier rate due to the amount of genre cross breeding at parties rather than everyone trying to one up each other?”
Yeah I think this really applies here. The only problem with that is that a lot of people from other cities view Munich as a little bit backwards because of that. By the time a healthy scene for a certain type of music has developed here, people in places like Berlin, Hamburg and so on will have moved on to other genres.
“What’s happening for you in the next twelve months?”
I’m working on a couple remixes right now. Don’t really know how much light I can shed on this. I’m also in the talks with 3 labels about releasing a new EP (or maybe EPs…we’ll see). Other than that I might actually leave Munich for a while. Not because I don’t like it here but because I get bored easily if I stay put in the same place for too long.
“Think we can call it a day there, any shouts or thanks you’d like to give?”
Too many to mention really but I’ll try to name everyone who supported me in the last few months. So much love to: Alice, Jay Scarlett, Jaecki Zucker, Om Unit, Laurent Fintoni, DJ Explizit, Fracture, Toddla T, Not Nice, Kidkanevil, Moresounds and everyone else I failed to mention.
(Apologies for the mix not being embedded within the blog. The code generating service we used that allowed mixcloud embeds on here has been bought out and doesn’t work anymore. BOOOOO!)
October 1, 2012 § Leave a comment
At a time when more often than not, new projects fail to really command your attention by going about their business through the same old played-out channels, the level of inventiveness and quality that comes from some of the heads down in Bristol is refreshing.
Think previewing absolutely gargantuan Kahn and Neek tunes via the medium of phone quality videos, capturing the beats getting an airing on the car system on the way to fast food joints, helping to thrust Bandulu Records firmly into the limelight. Think of the quirky yet brilliant DIY nature of quarterly published Bristol newspaper, Tape Echo and their affiliated Peng Sound record label.
Well, next up are Hotline Recordings, who rather than going for the SoundCloud link + endless social media hyping approach, they are taking us back to the days where not everything was disseminated instantly through the internet. Call the number below to find out more….