MAGIC MIX

Bass Music . Future Beats . Nu Garage

WEEK STARTING 20 Oct

Genre pick of the week Cover of Walter's Call by Swindle.
Butterz Collective man Swindle follows his “Long Live The Jazz” with amazing new EP on Brownswood Recordings. Forget drum & bass, jazz & grime it's what's all about here!

With ‘Walter’s Call’, Swindle dives straight in at the deep end with sirens and footwork inspired drums, gradually building themes of energetic brass brilliance into the mix. Seamlessly produced, this sets the EP off to a blazing start, introducing the influences of early 20th century chaotic jazz, which run throughout.

‘Summer Fruits’ is a track that begins with a gentle and disarming piano tune, swiftly developing into a lively melodic combination of well delivered vocal samples and prevailing brass rhythms. It gets your feet moving and renders the feeling of an easy sunny afternoon, with smooth harmonious flows combined with bursts of energetic flare resonating his influences.

Disjointed classic house piano chords kick off ‘Smash N Grab’, which again carries Swindle’s distinctive bouncing sound. At one point calm, then at the next in full swing, it’s just as much of a roller coaster as the rest of this smashing EP.


Julio Bashmore

Simple Love Feat. J'Danna

Julio Bashmore's first new music of 2014! Featuring the sensuous vocals of J'Danna, "Simple Love" is the first taste of music from Bashmore's forthcoming album. Glowing with that synthetic radioactivity, this beauty's sure to keep you warm over the Autumn months. The simple but highly invigorating chorus lodging itself firmly in your memory banks before the big bouncy hook comes charging through in all its glory, pummeling 808 subs elevating the droning phosphorescent pads. Massive. "Petals" goes for a more jagged, tough-arsed approach, phased pad stabs ricocheting against a really aggressive, frenzied drum attack and tight brass horn elements. Retaining a certain element of fun-loving, naive recklessness, when the octave bass stabs meet the rest of the mix halfway through I challenge anyone not to start moving. Head twisting stuff that should get bottoms bouncing on tha flo'. Bashmore's back!

Batida release new album “Dois” via Soundway Records. Strands of afro-house, kuduro, benga, semba, samples from The Clash and old Angolan movies and afro-beat tracks, African MCs and musicians from all over the world are all deftly mixed together by Pedro Coquenão.

Inspired by the multicultural hotbed of his home city of Lisbon and trips to Nairobi and back to Luanda, ‘Dois’ was predominately produced in his own garage-studio over a two-year period.

In 2012 Batida’s explosive self-titled debut came out on Soundway Records. Mixing the syncopated rhythms of Kuduro with elements of 1970s Semba and Congolese-influenced guitar licks, Pedro Coquenão won fans for an album that “demanded movement” (The Line of Best Fit) and “gave a view of the old and new, the West and Africa.” (The Guardian)

Much of the remix and sampling spirit from the first record remains but ‘Dois’ also features live instrumentation along with a host of different guests.

English, Portuguese, Quicongo and Zulu languages all feature on ‘Luxo’ with Spoek Mathambo (South Africa) & his crew contributing the lyrics together with Angolan MC Sacerdote and a guitar riff by Duncan Lloyd (Maximo Park). On 'Céu' Coquenão pushes things in a deeper direction, dis-assembling and reforming elements of the Francois & The Atlas Mountains studio sessions of the track 'Les Plus Beaux' .

Cooly G returns with ‘Wait 'Til Night’, an album of sensitive, lo-fi bedroom music, its lyrics sketching dreamy scenarios of seduction, lust and sex. The moody South London house of her debut album 'Playin Me' and her DJ sets has given way to a near-horizontal, sometimes melancholy and highly original take on R&B. The tracks swing effortlessly with no-fuss musical arrangements that are filtered through reggae sound system culture and US R&B in equal amounts, with a slight hint of dark synth-pop wound throughout. The pace has come down from the deep, tribal house she's known for so far, with the only constants that run through the album - her intimate vocals and smokey synths - cross-hatched with her characteristic broken rhythmic sense.

Opening with title track, Cooly coos about a date, over an infectious synth lead that wouldn't sound out of place on a Depeche Mode song. 'Like A Woman Should' is twilight music, synths rolling out like clouds over pulsing drums, while the vocals whisper invitations. 'Your Sex' is a fantasy with synths and surprisingly stabbing, hooky and distorted rhythm guitar. 'I Like' feels like the opening of an especially dreamy jungle track stretched into a full pop song. 'Dancing' rolls out drums and a mini guitar figure into a gently dizzy waltz, while 'Quick Question' plays out the scenario after the dance. 'Want's' barely-there song structure of drum and occasional bass with a wiry synth lead, is accompaniment to a near-whispered vocal. The pace steps up with the smouldering 'So Deep', with a deep synth bassline and a muscular hip hop beat. '1st Time' is all depth charge bleeps, guitars and piano. 'Freak You' is spacious and guitar driven, with Cooly beaming in directives through a distant voice transmission. The album's final honest, angry and forlorn track, 'The 3 Of Us', comes down hard on an absent parent, a full stop on the romance that the album narrates. It also reveals Cooly G as a skilled rap artist, something she’s kept hidden until now, with double-time flows casting off a missing babyfather. ‘Wait ‘Til Night’ finds Cooly G casting her net wider than her debut album, with songs that are more confident, accessible and stylistically consistent. The album comes laced with Cooly's unique honesty and charm and is sure to win her new fans with her catchy melodies, slow-jammed stories of blighted urban romance, and engaging lack of pretension.

Deejay Deer was born and raised in the Bavarian wilderness and is to our knowledge the first forest dwelling animal to use the prefix ‘Deejay’. Deejay Deer produces music of such high quality and depth that most people think he’s a true pro who has been hiding in a studio for the past 20 years.’

Deejay Deer is hiding in the woods to protect himself from all the fake producers in the city'. Numbers enslist some HOT new talent onto their well respected roster. "Natural" is a future-proof liquid house jam, utilizing glowing phosphorescent keyboard chords alongside undulating, glistening arps. The catchy vocal refrain 'give yourself away' rides the groove gently before the big fat drop catches us off guard and hurls us into the speaker stacks. "Unnatural" uses a similar sound palette, and also deploys the catchy vox; this time supporting the glorious synthetic textures and hooks with a rapid fire, hardcore-informed, skitting breakbeat and massive, room-filling darting synths. Great stuff, recommended.


Austrian musician and producer Dorian Concept presents his singular musical vision in its most widescreen form to date. His second album 'Joined Ends' is the biggest, boldest work of his career, and a sheer, technicolour audible joy.

This album is sonic geometry at its finest. With layers upon layers of breathtaking chords, weighty bass lines and hypnotic synth phrases - the album sits somewhere between a floating lucid dream and a deep trip into a synaesthetic wonderland. Whilst working on this album he cut down on touring and distanced himself from his signature club sound to put his mind on what was to become a two year journey.

For 'Joined Ends', he dropped his trademark MicroKorg and started working with new gear, building the album around a Wurlitzer electric piano and a handful of analogue synths. Sequencing only the beats, he based his songs on material he recorded live and then sampled.

The album moves with profound subtlety and deceptive simplicity: at times feeling effortless and light ("Ann River, Mn"), other times taking a turn for the calculated (as in the rhythmic intensity of "Trophies"), and sometimes falling into euphoric escape (heard in the fragile arpeggios of the closer "Tried Now Tired".) Although there is a tangible narrative weaving throughout, each individual song is packed with several stories, such as "Nest Nest", which oscillates between music-box charm, dynamic flares and pulsing rhythms. A dense, agile body of work filled with playful melodic earworms, complex textures and virtuosic transformations, the long player reveals more with each listen.


First major release since 2012’s “Dasaflex”. While their second longplayer was an exploratory affair, the duo return with a sense of focus energized by the creativity and unity they now find surrounds them. With the seas shifting around the label owners in the post-dubstep era, the duo deliberately took one step backwards to find forward movements. The results are five tracks written in the same project file and hewn from the same soundbank: the dark aquatic 8-bar rollage of “Timeless”, two driving percussive “Back 2 Go FWD” versions, the Detroit/broken “Peng One Two” and a beatless “Epic Jam”. All written at 130bpm but differing widely in mood and impact, they aim at the tricky paradox of diversity but interconnectedness. Three more tracks make up the doublepack: Blackdown remixes “Steppenwolf,” a rethink of Epoch’s contribution to the scene-setting “This is how we roll” compilation, while Horsepower and Facta remix two Dusk + Blackdown tracks, the newer “Wicked Vibez” and older “Drenched;” the latter taken from the very first Keysound 12”. That the symmetry of having one back (old school) and one forward (new school) remixer came about entirely organically - both independently approached Keysound and asked for parts - only makes the connections deeper. “For a while there, Dusk and I felt pretty musically isolated - trying to find this dark rolling path out of the trajectory of UK funky,” explains Blackdown. “But now we roll deep: turns out there are many who are hungry for this flex too. The "Back 2 go FWD>>" EP is our contributions back to the underground unity, vision and creativity we’ve found ourselves surrounded by in the last two years or so.”

Graze

Coax / Thundare EP

Graze is the synthetic porous ultralight material derived from low-mid frequencies, in which the liquid component of the melody has been replaced with curvaceous tones. The result are tracks with extremely low density and high thermal conductivity. "Coax" was produced by extracting the liquid component of an early Toronto rave tape through supercritical drying. This allowed the essence to be slowly extracted without causing the solid matrix in the samples to collapse from tape hiss, as would happen with conventional techniques. Ruff, ready and ragga. The electrical backbone of "Thundare" typically does not leave even a minor mark when played at low volumes; but pushing the system more firmly will leave a permanent depression on the floor. Pressing extremely firmly will cause a catastrophic breakdown in the atmospheric space, causing the music to shatter like glass. Despite the fact that it's prone to this behavior, the track is very strong structurally. Its aggressive low-end abilities are due to the dendritic microstructure, in which spherical percussion particles of average size are fused together into clusters. These clusters form a three-dimensional highly vibrational structure of almost fractal chains, with tones just under ear level.

STAFF COMMENTS

Matt says: Dark, frenzied breaks and voodoo for the Witching Season. Recommended for fans of HATE Soundsystem, Objekt, Night Slugs, Adapt, Sunklo etc.

Having evolved from engaing underground prospect into a fully established international DJ and producer in recent years, the time has now come for Huxley, born Michael Dodman, to release his debut album. Entitled 'Blurred', it lands on Will Saul's Aus Music. Initially precipitating something of a garage house revival with his early EPs, ensuing releases on key labels like 2020 Vision, Hyper colour and Tsuba have seen him roam into percussive and deep house territories, but always with a fresh modern twist that has seen him find favour with a diverse array of press and peers from Pitchfork to Mixmag, Pete Tong to The Black Dog.

One lead single from the album has already been premiered: ‘Callin’ is a collaboration between Huxley and house veteran Roger Sanchez in his revered S-Man guise and with its deeply infectious drum loops, earwormy vocal hooks and slick production is indicative of the album overall. Elsewhere the LP excels with original vocal performances from Yasmin (who has seen chart success working with Gorgon City), FEMME aka Laura Laura Bettinson (Ultraísta), Thomas Gandey and emering UK talent Obenewa. Starting with the deeply emotive melodies and snug sub bass of ‘I Want You’, the album coherently unravels through fractured garage beats and classic LFO wobble, anthemic and idyllic pop leaning vocal cuts, screw face bass tracks and tough techno stompers. Tying it all together is a polished sheen, a deeply rooted musicality and Huxley’s trademark sense of irresistible groove. Certainly marking yet another step up in the musical evolution of Huxley, 'Blurred' more than captures the contemporary dance zeitgeist: it truly defines it and will do so for plenty of time to come.

Nightmares On Wax

A Word Of Science

Reissue of Nightmares On Wax’s 1991 debut album. ‘A Word Of Science’ is the hardcore rave sound of the initial duo line-up of George ‘EASE’ Evelyn and Kevin ‘Boy Wonder’ Harper. Contains the dancefloor anthems ‘Aftermath’, ‘A Case Of Funk’, ‘Biofeedback’ and ‘Dextrous’.

The original vinyl release of ‘A Word Of Science’ was a single LP which dropped three of the tracks included on the CD version. For this edition Warp have re-cut the album as a double LP for improved bass response and the missing three tracks (‘BWTM’, ‘Sal Batardes’ and ‘EASE’) appear on vinyl for the first time.

FORMAT INFORMATION

2xLP Info: As the final part of the ‘NOW Is The Time’ campaign celebrating 25 years of Nightmares On Wax, Warp presents double gatefold vinyl represses of the Nightmares On Wax back catalogue. Includes printed inner sleeves and a download card for the full audio.

Pev / Pev & Kowton

Aztec Chant / End Point - Tessela / Stenny & Andrea Remixes

As Livity Sound deliver the final instalment in their long running remixes series, they keep the quality sky high right through to the end. This time round, two of the Bristol label's biggest hits from 2013 get ripped apart and restitched by a couple of big players in the seismic techno field. First up label head Pev's "Aztec Chant" gets an earth splitting remix from R&S signing Tessela, who lulls us into a false sense of security with a rattling intro before blowing us away with a barrage of wall shaking aggression. On the flip, Pev's enduring collab with Kowton, "End Point" gets a main room techno refit thanks to Italian duo Stenny & Andrea. Like a Ferrari on an open road, they go full throttle through their remix, making a hell of a racket in the process. Proper pounding techno that'll sound amazing on any decent system.


Redinho’s always been different. Debuting on Numbers in 2010, his "Bare Blips EP" showcased an artist with no desire to fit into the landscape of the time. Darting between styles and tempos across six tracks that drew from grime, hip¬hop, funk and more, the only constant on "Bare Blips" tracks was that they kicked back – or, at least, remained blissfully ignorant – of the 130bpm house that the rest of the UK was gravitating towards. On his first album, Redinho finds the perfect solution to being out of step – creating his own world to fit into. Across 15 tracks, including acclaimed past singles "Searching" and "Stay Together", Redinho conjures up visions of the deep sea, deep space, not¬-so¬-deep Jacuzzi parties and everything between, binding them together into an aesthetic that's both stylish and starry-eyed. Drum machine ¬driven ‘80s funk is a key influence here, as it always has been with Redinho and Numbers, but where Redinho excels is how sublimely he combines it with other genres: the 'hey' chants and drum patterns of Atlanta hip¬hop on "Playing with Fire", Detroit techno on "Shem", the freeform dreamscapes of "Bubbles", 707¬driven Chicago house on "Going Nowhere" and downtrodden electronica on ‘Say I Want You’. It only takes a few tracks to realise that Redinho’s studied the ‘80s, and the sounds and dynamics that make that style work, but this is far from a throwback album. With a masterful modern sheen and links to contemporary pop and hip¬hop, it’s hard to imagine it being released any time but now.

Hotflush follow up Dense & Pika's high octane remix of the essential Paul Woolford cut with this phat pressing of Kowton's deep reimagining. Swivelling outside and in, popping upside and around – the coveted Bristol producer behind Livity Sound leaves an indellible mark on a notorious tune.  A pulsating beat emerges from the cacophony of industrial clatter and metallic reverb as Kowton turns the clock back on our favourite clubs and puts the assembly line back to work. Seismic bass weight collides with thunderous percussion and takes no prisoners in the club. On the flip, the "Beatless Version" is probably the fiercest ambient track you're ever likely to hear. Another cracking reshape of a modern classic, from a producer at the top of his game; Essential.



Includes both beatdown and beatless versions.

Bucky Skank rides again! The Glaswegian take on the classic 'Sleng Teng Riddim' already received massive props at the beginning of the year and now they close it with this clever bag of tricks. First up, JD Twitch teams up with his old mucker Dave Clark (LUMA / Sparky) for an electrified, highly corrosive Sleng Teng-club-rub. Complete with big screaming vocal sections and a sinister, dark aesthetic. Next up is Jabru, The West Country gent with releases upcoming on Futureboogie and Huxley's Saints & Sonnets with a digital dub gem in the shape of "Whiteboard Jungle". Resonating with all the hazed and blurred beauty of classic dub, Jabru works the tape delays and drum boxes with style, unleashing a beast of a groove which should slay dancefloors the world over. Highlight of the EP in my opinion comes when Richmond & Sheraton deliver "Under Mi Flat Cap", a minimal but highly infectious take on Sleng Teng with super squelchy, sopping wet reverbs drowning the track and a superb, slightly tongue-in-cheek vocal. Made even more fierce and frenzied on "Flat Cap", the pair adopt an almost ragga-like aggression with buzzing sawtooths and long, tense breakdowns. Absolutely huge in the dance! You need this! Vinyl only!


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