January 29, 2013 § Leave a comment
You’re part of the Seeerious crew. How do you think its helped having a local bunch of like minded people to collab and bounce ideas around with?
It’s helped ridiculously. Having people you know in person that you trust to run an idea past or send a WIP too is definitely a blessing. For a while before I met you lot I was pretty much a loner in terms of my involvement with music. Everyone I knew were doing other things and I’d moved on from that. I’m so glad to have met people local to me that were doing the same and had a similar taste, attitude and passion for the music… Cos let’s face it, Kent isn’t exactly thriving with underground music – in fact – where I live is just a joke, it’s turned me into a hermit, I rarely go out here cos I just can’t stand all the shit music and all the uninteresting sheep that flock to it!
Your love of garage and grime is something you don’t really hide, what is it about those sounds that got you hooked? You were listening to those styles before moving on to the Dubstep, correct?
Yeah, Garage, early Dubstep and Grime are my foundation, my groundworks. It’s what I grew up listening to (along with bits of other stuff), and what inspired me to start playing and making music in the first place. Obviously being born and growing up in South London and being surrounded by friends and family that were into it (and old enough to go to clubs, I was just a kid with a radio in my bedroom at this point) was what introduced me to it.
From that point I was hooked though. It was the swinging groove and that warm feeling Garage had around it that appealed to me and Grime was an aggressive and bass-heavier mutation of it. A scene flooded with MC’s full of adolescent aggression, being a teenager at the time meant I could relate to where it was coming from. The beats sounded like Garage from the future which naturally caught my attention. Then as I got older (and calmed down a bit) I was losing interest in the MC and the art of lyrical content and was drawn more to the music itself just like I was with Garage, but this time around, it had evolved into something deeper, darker and minimal. Dread half-step was the new 2-Step and the exaggerated swing was replaced by a just as exaggerated sense of space… what we now know as Dubstep.
So Badimup is your label. Why start it and where is it going this year?
I’ll be honest and say I had the idea to start it purely so I could get my own music out there. Quite a well-established Producer gave me one of the best bits of advice. He said “If you want people to hear your music, for whatever reason, the best thing you can do is not try to break into an existing scene but to build your own.”
So that’s what I decided to do with Badimup. As I said, initially it was about providing a platform for my own music but then I realised I’d much rather involve others too and this year will showcase that. We’re currently on our second release which came out in December just gone, so we have quite a way to go yet but the artists involved and I are very excited about the releases planned for the future. Im going to stick to my morals and go for quality over quantity.
I don’t want to be managing a digital-only label, releasing the same kind of music every two weeks… We’ll be putting EVERYTHING into each one and try our best to keep things interesting and different, both in terms of “sound” and format.
You took the route of self distribution of your vinyl via The BADIMUP Big Cartel,what was the motivation behind this choice? Has it been easier or harder than you were expecting so far? What tips would you give to those who are thinking about going down this route?
At first, I decided to do it this way as I had no choice. I’d already signed a 2 year deal for digital distribution, because initially that’s all we had planned to push, until people started showing an interest in us putting out vinyl. All of the distributors (that deal with physical releases) I contacted either just straight up ignored me or were not interested unless they could distribute the digital formats too, which we’d already signed away the rights to… So it was check mate.
However, I then started to look into the industry more and found out that more and more labels these days are taking the DIY approach and cutting out the middle man, so to speak, and either selling direct-to-fan through websites like Big Cartel or Bandcamp and/or dealing with record shops direct. Doing it this way allows you to generate more return for the artist whilst still pressing the same amount of records because you don’t have a distributor and a shop taking their “cut” from final sale price. If your record is good enough and you promote it well, it also means theres less risk when it comes to covering costs, which is important to be able to keep the label going. We’re not doing this to make loads of profit, we’re doing it because we enjoy providing a platform, but at the same time you can’t just throw money down the drain, you’ve got to try your best to break even.
I’m not saying I’d no longer consider a physical distribution deal though, I mean it would give us a lot more time to concentrate on marketing and promotion, as we wouldn’t have to actually deal with unit by unit selling of the record, but I’m happy with where we are at the moment. We have plans to expand into some shops this year as well as still selling directly to fans through our own Badimup Store. We’re looking at the costs of this as an investment in our potential customer base, the idea of more people being able to find out about us and our releases can only be a good thing!
Going back to what we said about the Seeerious stuff and the making your own scene advice, how do you see things developing around here over the next year or so and outside of making tunes, have you thought about putting your own nights on locally in Medway?
Obviously the music is constantly evolving so its hard to pin point exactly where we’ll be. I prefer not to draw on the local aspect of it too much though. I mean yeah it’s great to have people doing things that I’m feeling nearby and I’m proud to be a part of some of it but I’d rather look at the bigger picture in terms of our potential audience. Putting on a Badimup night is definitely something to think about for the future and I’ve been asked if I’d like to collaborate on some events but at the moment I don’t want to bite off more than I can chew. Maybe once we’ve built a solid bunch of releases we’ll be able to sort a line up that truly represents us and isn’t just thrown together.
Any self respecting music fan likes lists and the discussions they create, so here goes…
Top 3 tunes at this current moment?
D-Operation Drop – 786
Slaven & Biak – Whispers
Geode – Britten
Top 3 tunes of all time?
Skream – Glamma
Headhunter – In Motion
Loefah – Rufage
Top 3 favourite sets by other DJ’s?
1. Loefah’s Roots of Dubstep set for Tectonic @ Fabric, 2012
2. Wen’s set for Mono Audio @ Corsica Studios, 2013
3. Oneman’s set for 81502 @ Corsica Studios, 2012
In regards to the mix, why choose the tunes you did?
I included a lot of my stuff, old and new, both solo work and collaborations, cos I thought it would be cool for people who haven’t heard of me before to hear what I’m about, a production showcase, if you like. Other than that, It’s really just a collection of the best tunes in my record bag at the moment. I also wanted to include some dubs from my favourite up-and-comers like Etch, Facta and D-Operation Drop for instance. All very different artists but equally ones to keep an eye on this year!
001 Kryptic Minds – The Divide – Osiris
002 Etch – Nose Bleed – Dub
003 Facta – Watertank – Dub
004 LX-One – Losing Control – Wheel & Deal
005 Baitface, Konvex & Deafblind – Badmind Breed – Soulstep
006 D-Operation Drop – 786 – Dub
007 Baitface & Deafblind – Penta – Soulstep
008 Baitface & Konvex – 37th Method (Requake Remix) – Dub
009 Geode – Britten – Vulcan
010 Youngsta – Destruction – Tempa
011 Baitface – Orbital VIP – Dub
012 Core Feat. Jamakabi – Civil War – Aquatic Lab
013 Biak & Baitface – Cellula – Dub
014 Youngsta – Poseidon – Tempa
015 Wen Vs Epoch – Hydraulics – Egyptian Avenue
016 Baitface – Substratum – Badimup
017 Facta – Amazon – Dub
018 Baitface – Trackers – Dub
019 Etch – Mellodee – Dub
020 FNC – Stalker’s Imagery – Dub
021 Facta – Upsetter – Dub
022 Kahn Feat. Rider Shafique – Late Night Blues – Deep Medi
023 Wen – In – Dub
Any shouts and thanks?
Yes! Obvious love for you and 45hz for having me! Out to everyone following my output from the very beginning, you know who you are. Big up Joe Muggs, Deafblind, Slaven and everyone else involved in helping Badimup do what it’s doing. Big up my good friend, musical peer and artwork don Simon “J-One” Jones, absolute genius at what he does! Out to Jamie, Kieran and Joe at Seeerious, Wen for breaking the mould, and killing it, so well deserved mate! Also gotta big up Lex and Bevan for being absolute G’s and anyone and everyone else I haven’t mentioned that’s supported me and/or Badimup up to now, thank you! We have so much more to come, I hope you enjoy the mix!
January 24, 2013 § Leave a comment
Dubstep originator Cluekid released the Dolphin EP via Australia/Germany based Aquatic Lab Records this past week and it is one that myself and the others here at 45hz have been waiting quite a while for.
Dolphin is the name sake track of the release. A simple hi hat introduction allows ambient washes to break through as a beautiful call and response melody sits beneath wobbling cloudy atmospherics that swirl in and out of time with the expertly crafted beat. This track captures that same vibe I get from those early Bukem & Conrad ‘Progression Sessions’. Melody, space, progression and heavyweight sub bass.
Fossil is built around clinical, spatial grooves whilst delayed techy chords drive the melodic side of this tune into a state of blissed out trance. Its nice to hear a release from a Dubstep producer that actually manages to keep that “Dub” feel fully intact. Meditation through bass weight is achieved easily whilst listening to this track. It sucks you in and before you know it your eyes are shut and your head is just bobbing away. Full blown roller and for me is the stand out track on the release.
Digital exclusive Nihonto takes an Eastern Asian influenced sample and puts it to work under a heavily driven, heavily swung minimal beat. Purple-esque synths wash in and out of those samples whilst lone notes stand tall within the mix. A nice addition to the digital release, but I feel this could have worked even better in place of Fossil.