Bass Music . Future Beats . Nu Garage


Genre pick of the week Cover of Vapor City Archives by Machinedrum.


Vapor City Archives

Electronic music's Renaissance man Travis Stewart, better known as Machinedrum, brings his 'Vapor City' project to a close with this final chapter in the sprawling epic - 'Vapor City Archives'. Paying close heed to the spirit of the 'Vapor City' community he forged and nurtured, Stewart chose to announce this new record via the global community created when he invited listeners into his personal dream world dubbed “Vapor City”.

Constructed around his vision of an imaginary city with fully-realized districts, the year-long 'Vapor City' project was founded upon Machinedrum’s critically acclaimed album of the same name and supplemented with a worldwide live tour, a string of satellite EPs and remixes. This final installment sees the talismanic producer deliver 10 brand new, exclusive productions alongside fresh artwork from the project’s art directors: LuckyMe’s Dom Flannigan and Éclair Fifi.

Once again experimenting in soundscapes between footwork ("Safed", "Only 1 Way 2 Know"), hip-hop and jungle / drum & bass ("More Than Friends", "Boxoff") to forge a unique sound that he has come to own, Stewart creates a subtle homage that nods to the past while staying firmly future-facing.

In the lead up to his debut solo album the Ten Thousand Yen label boss returns home with four essential cuts, with two vocal features from LA's Seven Davis Jr. The EP leads with "What's It Gonna Be?" which is already picking up early love in the clubs and on radio by the likes of Annie Mac & Skream. Twangy, futureproof synth riffs and a squelchy drum palette accompany Seven's soul-fuelled vocal delivery. "Together" takes Pam Todd & Love Exchange's "Let's Get Together" and does a massive DJ Sneak / Armand Van Helden on it, looping up the infectious chorus loop, loading a banging kick drum into the mulitrack and getting to work on the filters. A classic house formula executed with aplomb and worth the entrance fee alone! "Ghost Text" is an electrified, jagged-edged beat track; a naughty, nagging acid line melting through the tough brick wall beats. "I Promise" closes off the EP and sees Seven Davis return to the mic. Again, liquid-soul, sun-blushed flavours are explored as simple hand claps and finger snaps accompany a lush, radiant piano stab, sumptuous strings and Davis' incredibly desirable vocal section. Absolutely huge! Better move quick on this one folks...

Mr. Mitch

Don't Leave

    Mr. Mitch is one of a group of producers who have re-envisioned Grime in the last few years, infecting the scene with a progressive and often surprising energy. He's 26 years old and started his own Gobstopper label back in 2010 after having his debut release on Butterz. Last year he started the flourishing Boxed 'Instrumental Grime' night alongside producers Slackk, Logos and Oil Gang. For Mr. Mitch, Grime "…has always been an experimental and progressive genre, taking elements of what came before it and pushing those boundaries to create something new". And so this four tracker, which drops before his debut album 'Parallel Memories', is a short but brilliant showcase of his delicate use of Grime's speed and sound and his ability to take it somewhere else.The record starts with Boxed anthem 'Don't Leave' which chops and screws a repeated acapella, with spaced drum hits and light drizzly chords. It sounds extra sad and emotionally desolate, but within the Grime grid, it still feels tough. 'Be Somebody' elevates the mood, breathing in some much needed sunlight with a graceful twinkling melody and a hopeful but shy vocal refrain which complement each other perfectly over snapping claps and snares, all pivoting on a heavy sub bass. 'Padded' builds incredibly slowly, a tender melody snaking out across a simple kick and some exhausted sounding hand claps. The melody builds very gently and the track peaks midway with a contrasting noise that seems to shatter the track apart. 'Oh' finishes the EP, mixing slower criss-crossing drums with gently warping vocals that drift in and out of the mix while a soft marimba runs underneath.This is music that deserves to find a likeminded audience, progressive and not afraid of emotional depth.


    12" Info: 12" in plain black sleeve.

    Samrai Meets Ruf Dug

    At The Dane Bank Observatory - Inc. Hashman Deejay / Zanzibar Chanel Remixes

    UTTU drops some hype shit in the form of Manchester's Samrai & Ruf Dug collaborating on some crazy ass future interplanetary dancehall business! With these two forward thinking men of the universe we knew the results were gonna be out of the ordinary, but were we prepared of this?! No chance! "1st Observation" opens with glacial synth shards reflecting of a neon-lit lake, pitched vocal snippets and female diva samples bouncing across the crystalline valley of sound. Pluming sub woofer jets occasionally lifting us from the air gently as if on a cloud of air. Future Times native, Hashman Deejay enters the observatory and reinterprets "1st Observation", taking in its luminescent charm through a steady pulsating house rhythm, subtle jungle sirens, glowing pads and a completely infectious, overwhelming groove. Amazing stuff. "2nd Observation" plummets further into deep space, discovering some lost cybernetic jungle planet, occupied by huge neon frogs, choral singing apes and lit by sweeping green lazers and multicoloured strobe lights. Ozzy cohorts Zanzibar Chanel get suitable rainforesty on the remix duties, serving up a joyous, dusty jaunt through drum box percussion, sophisticated keyboard work and a forward propelled momentum that shows no signs of easing up. Absolutely great stuff! Unique, beautiful and full of charm - you need this record in your life!

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