November 30, 2010 § Leave a Comment
As previously mentioned, we like to support the up and coming producers and labels. Without them, there would be no base of support for the emerging talent and many producers worldwide would never be noticed for the true skills they possess. Case in point is upstart label Orientis. England based, they are pushing Dubstep that has musical merit, rather than walls and walls of sound.
Working with some already established names, as well as the more underground heads is a thing that a lot more labels should do, rather than focusing on signing producers who are just going to shift a lot of records. It lets the creativity through that is usually lost within the jump up, dancefloor orientated side of the scene.
A2: Morbid Curiosity
Release Date: 10th January 2011
Here is a little info from them about the release.
Coleco – based in Bristol UK, is widely becoming known as a pioneer in melodic genre-bending, bass driven music. He originally set dance floors alight with his post-dubstep/heavy funk crossover 12″ début ‘Campfire Funk’ on Soul Motive Records, and as the evolving sub-genres of dubstep continue to further cross-pollinate with the rest of music itself, Coleco sets new standards of multi-genre influenced dubstep by kicking off ORIENTIS RECORDS with this new 4 track vinyl EP.
Martyr – starts off the EP with a Pan-Asian influenced, funky breaks driven number. Building an introduction with spacious, floating sitar and flute lines, you’re woken from meditation by a colossal drum break unexpectedly dropping in, soon bringing all the elements from the intro back into context coupled with a pounding sub-layered acoustic double bass.
Morbid Curiosity – takes a classic live funk break to the operating table, twists it up half-time style, and stitches on a roaring sub-bass that’s surgically designed to tear bass bins apart, creating an evolving monster that’s ripped through the walls of a few dance floors already.
Taostic – offers a chance to recover, to kick back, or groove along to this Dub-Eastern crossover, weaving in and out of dreamy flute and female vocal melodies, whilst ambient guitar licks, dub reggae style sub-bass, and warm retro drums drive the whole thing forward.
Aether – opens up with dark and gritty haunting atmospherics and filters in moody offbeat Guhzeng stabs, deep sine waves, and a pounding breakbeat. The breakdown then offers the chance for the elements to creep back in again, eventually exploding into a crescendo of double time drums, bringing to EP to a heavy funk finale.
Also forthcoming on the label is a 12″ from Kent head Pressa& Crisp.
A – Pressa x Crisp – Atom
B – Pressa – Symptoms
Keep your eyes on the links below.
November 21, 2010 § Leave a Comment
On the 11th December 2010, Azlan Entertainment and Totally Wired are putting on what will hopefully be the first of many Lovely Dubbly Dubstep Parties down in Margate.
Dub Police family members Subscape, J:Kenzo and Unitz will be playing alongside Daddy Ruff Jnr and local selectors Arcane, BFP, Charlie Sezz, Crooked Halo DJ’s and myself, with Rod Azlan on microphone duties. Soundsystem will be provided courtesy of the Skank Nasti boys and its set to be LOUD. All styles of dubstep will be represented across the night, so if you live in the Kent area, you’d be pretty daft for not coming. Don’t forget your skanking shoes because there is going to be no mucking about…
Subscape – Screw Up
J:Kenzo – Constant
Unitz – The Drop
November 13, 2010 § Leave a Comment
I’ve looked up to this guy for quite a while as he takes the DIY approach to both his own musical work and with the output of his label and is pushing some of the most sublime music you’ll hear.
Easy Alex mate! Can you tell people a little about what you do? As I gather, it isn’t just music you’re a dab hand with?
By day, I’m lead designer for a small web agency based in Edinburgh, and in the evenings I DJ and produce music as DFRNT, I run the Echodub collective and label, I manage the Sitting Ovation blog, and I’m editor for Modus magazine! Sometimes I find some time to eat, sleep and very occasionally I get to have a social life! Also, I’m told my Thai green curry is to die for.
When you’re in the process of writing tunes, do you follow a set routine of how you begin to lay things out, or is it more of a chaotic process? Do you find that your work flow for tunes is similar to that of your design work?
My design work is influenced and driven by research, content, briefs and audience during the day, and I let the design work I do out of hours have more influence from popular culture and creativity. Not to say that my design work during working hours doesn’t have creativity – but it’s important to follow a process, because when it’s your job you have to be able to back up every design decision, and justify all your actions.
Musically it’s completely different. Music is entirely emotional. It’s a feeling, a desire to produce a sound or type of track. Everybody has different approaches, and I don’t think mine is too different to lots of others. I’ll either start with a sound or style in mind, and build up layers towards that, or I’ll be browsing through sounds or patches, and something will catch my ear, maybe a chord or two – and I’ll build it up and out from there.
You’re most well known for making beautiful, ambient dubstep, when did you discover the genre as a whole and what made you lean more towards the melodic side?
The genre as a whole is something I’ve been aware of for a good 3 or 4 years now. I’ve always been keen to produce since I discovered the sound, although my first few productions were much heavier than what I’m known for. The melodic influence actually came from two places. Firstly – I used to produce ambient/IDM type stuff before I discovered dubstep – but it took a while for that to filter through in my productions, and secondly – I felt compelled to work towards deeper tracks after hearing some fine examples of producers doing that sort of thing already. One particular release that sticks in my mind is DJ Madd’s “Numbers” on Vista’s BoomBap label. It blew me away – still does. I quite often play it in my DJ sets even now, 2 or 3 years later.
Do you dabble with any other genres when producing?
Initially I didn’t. When I produced the first album, it was quite strict in terms of my sound. I’ve since (and we’re talking over the past 2 years now) developed in different directions. I’ve just finished a nice drum and bass track, I’ve done a couple of hip hop things, I’ve got really in to techno, both minimal and dub-techno and even recently done a deep house track, down at 109 bpm. In fact, my forthcoming EP on Nu Directions even has a solo piano piece on it.
As someone who plays out in all manner of places, how does your home scene compare to say that of somewhere like London? Do your sets consist solely of your own material, or do you keep it half and half?
Interestingly enough, I’ve not played in London, and have only played in my hometown, Edinburgh a couple of times. Believe it or not, I’ve played more gigs on the East coast of the USA, than I have in UK, if we’re talking about dubstep DJing. Not that I’m complaining about being booked, but I think promoters really shy away from booking me, worried that they’ll get a set that’s too deep, or too obscure. Thing is, I’ve amped my sound up a bit now anway – I can play to a packed dancefloor at peak-time, just as easily as an empty bar at 7pm. My sets are about 60/70% other people’s material. I tend to keep it dancable and often switch between half-tempo deep weighty stuff (tasteful mind!) and the more 4-4 style up-tempo deep-techy stuff. Provided it’s melodic, unique and isn’t going to send people to sleep, then it fits.
As I read in another interview, you had looked up to Synkro for a while before did that remix, but who do you look up to now in terms of established producers and up and comers?
Right now, I love what Dave Huisman’s doing with both 2562 and A Made Up Sound. I like what Paul Rose is doing with both Scuba and SCB. I love what Jack Sparrow is doing too, and I’m very keen to hear more from the Sepalcure boys. Their stuff is amazing.
How did the Echodub project come about, what’s been happening with it over the past year and what should we expect over the next year?
Echodub came about because I realised that if I could put my own tracks out online through a store – I could probably do that for other people. Not only that, but I wanted to create a collective of musicians who could work together, and towards common goals. I saw lots of talent on the forums and blogs being missed, and I wanted to see if I could use Echodub as an opportunity to help people get where they want to be. I’m still proud of the fact that Echodub has had the likes of Indigo and xxxy on board, and that many of our current artists like Jack Dixon, Asa, king slaFF, Muteqx, Roof Light and others are getting solid recognition for their efforts. I’m not saying it’s all Echodub, but I’d like to think that I’ve helped forster some of that, or at least presented opportunities for people to take advantage of.
Future plans are looking pretty good. We’re close to releasing our first vinyl and I’m going to be starting the promotion for that very soon. We’re looking at doing some more digital releases, and I’m considering a 3rd “Echodub Loves” but going for the dub-techno angle this time. I’m not sure yet on that one. Now that Anechoic Remixed is out of the way, I can see a little clearer!
I honestly think we’ve covered everything there Alex, is there anything else you’d like to add before we wrap this up proper?
To be honest, I don’t have much to say that I won’t be saying on Sittingovation, in Modus magazine or with my music.
My most recent stuff can be heard on my Soundcloud – DFRNT SoundCloud
November 9, 2010 § 1 Comment
Big, bad and heavy. Benton is fast becoming a lot of peoples favourite producer, myself included. Dark, dingy and sometimes quite suffocating. Expect nothing but pure bass weight from the mix.
Easy man, introduce yourself and tell us a little bit about the bass driven music scene where you’re at?
Wagwarn, my names Benjamin I produce music and dj under the name Benton. I live in a town just out of South London so the scenes kinda small but I used to run a local night called Subspotting with Unitz and my mate Luke.
Before making tunes, did you ever have any musical experience?
Not really… I mean I’ve been into music since I was young. Listening to jungle, drum n bassb, garage etc. I always had one headphone in my ear at school listening to them old jungle tape packs, always thought to myself how’d they make these tunes! Never thought back then I would be producing.
Your tunes seem to have that dark, brooding quality that I feel in old jungle and drum n bass tunes. Is there an era, or year of dubstep/drum n bass that you’d say you reference more than another when you’re producing?
Well I make a lot of Jungle influenced stuff whether it be dark or jumpy but i love the darker drum n bass from early 2000.. that sound was RAW! People like Bad Company you know?
So as a producer, what makes you tick musically outside of the dubstep box?
I got loads of friends that don’t even like dubstep so I’m surrounded by loads of different music.. I like al ot of different stuff, as a dubstep producer people assume that you only listen to wobbles 24/7 haha that would do my nut in if I’m not making a tune or listening to a mix then I’m usually listening to dub, reggae, jungle, drum n bass, garage, house. Whatever really, as long as it’s got a nice sound to it.
Do you have a set way of working when it comes to writing, or do you take the “whatever happens, happens” kind of approach? Does it differ with remixes?
Depends really. If i got some parts to work with then I usually get influenced by whatever them parts are, but when I’m making a tune I usually collect a few samples that will work well together n start to vibe off them.. build some drums.. you get the picture…
How did the N-Type/Wheel N Deal connection come about?
I showed a few tunes to Deadly & Watson from Futurism and they decided to sign them to the label, at the time they were getting a lot of support from N-Type going on Rinse. It was my Birthday and I was having a few beers with Unitz waiting to go Brighton and N-Type rang me about Out There. A few people showed interest in that tune, Caspa was gonna put it out at one point but when N-Type rang me he said he wanted to put it on Wheel & Deal! Kinda weird cos the tune started as a bootleg!
Last but not least, what can we expect over the next twelve months?
Well I recently started working on an album for Wheel & Deal which should be dropping next summer gonna try and collaborate with some different artists and get some different bits on there. Also got a few things forthcoming I’ll try get them in order…
Necromancy & Sinners is forthcoming BoxClever
The Last Crumb by me and Walsh forthcoming Biscuit Factory
Smash That Badger & Nurafen forthcoming Wheel & Deal
Videodrome forthcoming Wheeler Dealers Album
Zardoz & not sure yet? (haha) forthcoming Wheel & Deal