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Kolsch

Fabric Presents Kolsch

Fabric presents Kölsch’ is a ten-track journey of exclusive new material inspired by and named after flights from his gig schedule. Drawing from the routine experience of flying from show to show, each track imagines its own sonic world from solitary journeys at 30,000 feet. Rune Kölsch is responsible for developing a leftfield aesthetic now synonymous with the Kompakt label. Employing a tapestry of carefully arranged textures, he levitates his way through 60 minutes of blissful hypnotism. His productions offer a glimpse into a dreamy, visceral world full of transcendent moments. Building on a constant but gentle line of tension, his track selections tread the line between melancholic and uplifting. Microscopic percussive details roll through sprawling backdrops whilst animated glitches form subtle melodic leads.

STAFF COMMENTS

Matt says: Fabric don't let loose these solo artist albums very often. Ricardo Villalobos and Omar S both spring to mind - both seminal collections that expossed said artists to new and expanding fan bases. Now Kolsch is invited in by the seminal London label for a showcase of this delicate, fragile and serenely beautifully producer's work.

Bonobo is an artist who explores elements of instrumental hip-hop, electronica and ambient with live instrumentation and enjoys an illustrious career with a sea of collaborators ranging from Erykah Badu and Andreya Triana to Rhye and Nick Murphy.

His highly textural aesthetic translates into an ethos that looks to introduce a more open musical palette without losing sight of its past. His mix supports 10 exclusives or unreleased tracks, including 2 from himself and another from his rare pop-up alias Barakas. Employing the multi-instrumental arrangements of his own work in this 74 minutes of house, techno, electronica and breakbeat, each track exudes character and allows animated melodies to wander and develop, all the while grounded by an acute sense of harmonic progression and rhythmic precision.

STAFF COMMENTS

Barry says: There's no denying that Bonobo has been at the forefront of electronic music production for the best part of two decades now, and this superb suite of influences shows exactly where it all came from. Featuring a diverse range of artists and genres, it becomes clear where the mix of instrumental hip-hop, trad. electronica and downbeat meet in the euphoric middle-ground Bonobo treads. A superb compilation on it's own merits and a fascinating timeline of Bonobo's considerable influences.

For the 100th and final instalment of the iconic FABRICLIVE mix series, in its current form, two UK pioneers unite for a hypnotic 74 minute mix. Burial and Kode9 are each credited with fostering esoteric, hyperlocal sounds and steering them to global recognition, helping to shape the landscape of contemporary electronic music as we know it. They are also close peers, having influenced each other’s careers immeasurably over many years.

Since launching his seminal Hyperdub imprint in 2004, Kode9 has sustained a reputation as one of the most innovative artists, curators and DJs. He was a regular fixture at the legendary DMZ and Fwd>> nights in London - which to many are still considered as setting the bar for clubbing in the city and nurturing the rebirth of the post-millenial UK scene. Since 2017 he runs and co-curates Ø, a monthly event at Corsica Studios merging immersive installations with groundbreaking musical programming. From 2003-2009 he hosted the Fwd>> radio show on Rinse FM, later co-hosting the Hyperdub show alongside Scratcha DVA. He has three studio albums, Memories of Future (2006) and Black Sun (2010) with The Spaceape, Nothing (2015) and three DJ compilations, Dubstep Allstars vol.3 (Tempa 2006), DJ Kicks (!K7 2011) and Rinse 22 (Rinse 2013) to his name, as well as tracks released on labels ranging from Aphex Twin’s Rephlex imprint and Soul Jazz to Warp and Domino.

As one of the most enigmatic artists of the 21st century, Burial is responsible for birthing a sound that is truly singular. There are few producers whose work is so instantly recognisable, to the point that his name is now synonymous with a distinct set of eerie sonic components. His disquieting depictions of South London, informed heavily by sound system and UK rave culture, are widely considered masterpieces, with the cultural impact of his work echoing far further afield than his hometurf. His relationship with Kode9 and Hyperdub stems back to his first EP, South London Boroughs (2005), with almost every subsequent release, including two highly influential studio albums, Burial (2006) & Untrue (2007) residing on the label.

Both artist’s origins can be traced back to bass-heavy strands of UK underground music - a sphere in which they have worked closely together for many years - but the idiosyncrasies of their respective styles are recognised on a much broader scale. As such, the mix reaches into obscure corners and a disorienting range of tempos across its 37 tracks. Featuring artists from Africa, China, South America and Japan as well as the Europe and US, the mix draws from gqom, juke and footwork to trance, jungle and grime, as well as a wealth of material that defies categorisation. it sounds like it was stitched together from a box of unknown mixtapes found in the gutter.

FABRICLIVE 100 concludes the current incarnation of the beloved mix CD series in a way that honours it's namesake clubnight. Covering many of the musical styles that have found their home within its walls, whilst simultaneously looking outward for inspiration. It is also a documentation of two of London‘s remarkably skilled artists delving deep for an undeniably unique collaboration.

STAFF COMMENTS

Barry says: It was always going to be a legendary musician that curated the 100th outing from the hugely influential Fabriclive series, and who better than the duo of Kode9 & Burial. We get brooding modern ambience, deep dubs and crackling, glacial beats akimbo over a ridiculous 40 tracks. If you only buy one Fabriclive (I assume for most of you, it's too late for that), make it this one.

Various Artists

Fabriclive 98: Dimension

    At the early stages of his career Dimension was already turning heads within both the drum & bass scene and specialist radio alike. A combination of effortless musicality and production prowess caught the attention of producers and DJs such as Andy C, Sub Focus, Chase & Status as well as Skrillex and deadmau5. These days Dimension is receiving mainstream success without deliberately releasing crossover music - striking the perfect balance between club and radio.

    ‘FABRICLIVE 98’ is 56 blazing bass tracks creatively bound with energy and sensitivity. It is a definitive snapshot of drum & bass in 2018, featuring 22 exclusives coming from both bigger acts and underground artists, namely Chase & Status, Sub Focus, Calyx & Teebee, Metrik, Dossa & Locuzzed and Benny L.

    Rising to prominence on Rinse FM and ruling for a decade at Kiss FM, Logan Sama has been at the forefront of presenting the best grime has to offer since the genre’s inception, lending a helping hand to the careers of such names as Wiley, Dizzee Rascal, Tinie Tempah, Wretch 32, Skepta, Ghetts, Jme, P Money, Preditah and many hundreds more.

    Early DJ inspirations EZ, Karl Brown, Mike Lloyd and Fonti saw him gravitate from Brentwood, Essex to the capital with a growing obsession with the experimental productions of Oris Jay, Zinc, Zed Bias, Wookie, Steve Gurley and Groove Chronicles transitioning into the earliest appearances of grime. His notoriety on the grime-centric Uptown Records web forum caught the attention of Dugs and Slimzee on Rinse who granted him a prime time slot before Roll Deep on the then pirate station. Stationed alongside legends like EZ, Rodigan, Hype and Hatcha, his celebrated Kiss show broadcast to a dedicated audience, his final show in 2014 witnessed the crème de la crème of grime dropping in to pay due respect. Logan Sama has been a fabric regular over the years, from Run The Road to Playaz nights in room 2, Tropical and Butterz Room 1 takeovers and any number of FABRICLIVE events.

    Far from a traditional DJ mix, FABRICLIVE 83 is an intricately curated album of exclusive beats and bars featuring contributions from luminaries and future stars of grime. Mixed with the enthusiasm, energy and passion his sets are known for, Logan Sama hasn’t just set the bar high for FABRICLIVE - he’s clean smashed it into orbit. 24 brand new and exclusive instrumentals from the likes of Wiley, Jme, Jammer, Terror Danjah, Rapid, Faze Miyake, Preditah and Kahn & Neek have been blessed in the mix with acapella bars from no less than 66 MCs including Novelist, D Double E, Ghetts, Flowdan, Merky Ace and Scrufizzer (and rarely is this phrase so apt) to name but a few.

    “The creative freedom I have when working in Ableton allows me to edit, mix and remix tracks in ways you can’t do with turntables or CD players. Tracks are often used as building blocks in the form of loops and samples in order to create something completely new. Tracks are usually stripped down or minimal sounding to allow for layering and mixing with other tracks. The result is a mix that is more than the sum of its parts.” - Joris Voorn

    Voorn weaves together a sinuous tapestry of deep techno from the mere strands of a staggering 65 tracks, cutting, chopping and editing together ambient cuts by Max Loderbauer and TCF with personal favourites pulled from the dusty rafters of his Amsterdam abode, such as Speedy J’s ‘Fill 17’ and Plastikman’s ‘Consumed’, and contemporary melodic techno cuts from the likes of Cobblestone Jazz, John Tejada and fellow Green artists Roland Klinkenberg and Anton Pieete. Meanwhile, brand new Joris Voorn productions ‘Where Have You Gone? (Part 1)’ and ‘Looks Fake Obviously’ exemplify the harmonic twists and pulsing beats that don’t allow you to take your ears away from this sumptuous mix for a single second.

    After bursting into the spotlight in 2008 with two world tours and numerous heavyweight productions and remixes, Mumdance took a two-year hiatus after finding himself increasingly disillusioned with the scene and sound with which he had become associated. He returned in 2013 with a new, more self-assured style, releasing on labels such as Rinse, Tectonic and Keysound Recordings while collaborating with other forward-thinking artists such as Logos (with whom he is also set to release the club-oriented Proto project this February) and Spyro. 2014’s anthem ‘Take Time’ with South London’s hot property Novelist was followed by the duo signing to XL Recordings.

    'Fabriclive 80' opens with previously unheard weightless sonics from the likes of Shapednoise, Jefre Cantu-Ledesma and Sculpture, taking a brief detour to early bleep with Sweet Exorcist, before settling into Mite’s ‘Cemetery Séance’. The piercing sounds of Logos’ ‘Glass’ (forthcoming on Mumdance’s Different Circles label) juxtaposes perfectly with Tectonic boss Pinch’s potent ‘Water Bomb’ and forthcoming dubs from Untold and Acre. The middle section of the mix acts as a short production showcase from Mumdance himself; three striking collaborations with Logos feature (‘In Reverse PIV’ is of particular note).

    The mix enters weightlessness again with tracks from Helm, Wanda Group and Strict Face before Mumdance, Logos & Rabit’s ‘Inside The Catacomb’ acts as a statement of intent for the mix. Two surprise pieces of dancefloor fire emerge next: an exclusive VIP “fabric” treatment of Novelist x Mumdance’s collaboration ‘1 Sec’ and Riko’s version of ‘Take Time’ - an in-demand dub of 2014 in its own right. The final section of the mix jumps back in time to the early 2000’s with ‘Coalition’ from Eastwood & Oddz and Jon E Cash’s ‘Kamikaze’. Mumdance rounds off his Fabriclive mix with some uplifting tracks from the hardcore era that shaped his early musical tastes, by Bass Selective, Fat Controller, Jimmy J & Cru-l-t. The cyclical piano stabs of Ramos & Supreme’s stellar ‘The Journey’ are peaks in a mix that effortlessly summarises a unique musical mind.

    It's easy to trace Ryan Hunn (aka Illum Sphere)'s impact on the Manchester music scene. Hoya:Hoya, the night he started with Jonny Dub back in 2008, quickly became noted for its eclecticism and open-minded booking approach, with artists ranging from The Gaslamp Killer to Ikonika and James T. Cotton. Soon spotted by the keen eyes at fabric, the collective were invited to host Room Three in 2011, and following its immediate success they moved to Room Two, where they now hold their quarterly residency. Illum Sphere's skill at bringing together disparate sounds as a DJ is bolstered by a formidable production talent, which has seen him release on a series of respected labels, including Ninja Tune, Young Turks, 3024, Fat City and Tectonic, whilst his remix credits include Radiohead, Martyn, Kuedo and Zed Bias. Constructed in the comfort of his own home, his FABRICLIVE mix is inspired by the sounds one might hear during his DJ sets in Room Two.

    "I decided to stick to more electronic-based music, from new wave, dub, techno, acid, etc. In terms of range I think the oldest thing is probably late 70s and the newest thing came out this year." - llum Sphere

    Kicking off in the 80bpm range, EMAK’s spaced out ‘Sein Und Schein’ (a segment of which appears later as an interlude) makes way for dub echo drenched tracks from Soul Syndicate and Carl Meeks. From there the mix explores the many subtle (and not so subtle) facets of electronic music, from the lo-fi experimentalism of Tapes and Powell to analogue synth-driven jams from Musumeci, Streetwalker and Grauzone. Illum Sphere is effortlessly flexible on tempo to the point where the shifts are barely noticeable, with the mix midway pace subtly ramping up into Das Ding’s technicolour ‘HSTA’. From there, spaced out synth textures of Legowelt and Demdike Stare are contrasted with machine-like grooves from Charles Manier and Propaganda. The exceptional ‘Gershwin’ by Actress shifts into Illum Sphere’s own ‘Bullet’, before Nine Circles’ 1982 track ‘What's There Left’ signs off a mix that is engaging as much as it is unexpected.

    In a world where illegal downloads, cracked software and sync buttons are helping to create swarms of young DJs with bottomless libraries of digital music they’re vaguely familiar with, you might question the role and relevance of the specialist DJ in today’s musical landscape. Not everyone possesses the talent, care and breadth of taste required to project their personality through other people’s records, or to create narratives which transcend dancefloors; Ben UFO is someone who does. Over the years Ben has increased in confidence and proficiency, and in devoting himself to the pursuit of highlighting shared characteristics of 2-step garage, dubstep, classic house and techno, he has learned to expertly navigate and bridge tempos and genres in as natural a fashion as possible, allowing tracks from disparate areas to co-exist and function comfortably alongside one another to form a unique and well-defined aesthetic.

    In 2007, after finishing university, alongside David Kennedy (Pearson Sound) and Kevin McAuley (Pangaea), he started Hessle Audio. The label was formed with the idea of providing a platform for the release of Pangaea and Pearson Sound’s own records, but its scope quickly expanded, resulting in the release of genre-defying records by Objekt, Untold, Cosmin TRG, James Blake, Blawan and more. In May 2009 they started their residency at Fabric, which has been ongoing ever since. The club night reflects what they do as a record label and as DJs, showcasing expansive, varied lineups and drawing connections between artists as diverse as Kassem Mosse, Kode 9, Livity Sound and Randall.

    The primary purpose of this Fabriclive release is to represent exactly what Ben does as a DJ, and to give him the opportunity to showcase the different aspects of the music that he stands for. Accordingly, it is not a straightforward mix of house, bass music or techno; neither is it filled with exclusives or unreleased material. It is an indicator of where we are at and where we have come from, and a statement of intent. It is a considered and highly textured mix consisting of 28 tracks and traversing multiple styles.

    Emerging from the moody introversion of Mix Mup’s “Before (Dub),” the mix starts in earnest with an aggressively distorted cut from Delroy Edwards, which bleeds into the off-kilter rhythms and sub-bass intensity of an exclusive from Pev & Kowton. From there we’re thrown into the bizarre future-tribal world of DJ Sotofett remixing Tim ‘Love’ Lee’s “The Tortoise” and onwards through tracks and decades, as Chicago Skyway’s “It’s OK” combines with K-Hand, Fluxion, Jam City, Pearson Sound and Mr. Fingers. There are truly inspired transitions here: the acid tones of “Zug Island” by Kyle Hall & Kero drip languidly over Shackleton vs Kasai Allstars’ “Mukuba Special”; the shattered percussion of A Made Up Sound’s “Malfunction” is pulled into line by the loop-driven techno of Grain’s “Untitled”; the dissonant bassline drone of Pangaea’s “Release” swallows up and consumes whole the kick-drum barrage which defines Blawan’s “And Both His Sons.”

    With Hessle Audio releases represented heavily alongside labels such as L.I.E.S., Hinge Finger, Night Slugs, Hemlock and Eglo, there are clear indications of a tightly-knit community working collectively to push things forward. Ben is central to this movement, and with this mix he manages to communicate not just who he is and what he does, but ultimately where we are at.


    Launched in 2005 by original ‘90s Jungle pioneer, Shy FX, Digital Soundboy quickly established itself as one of the UK’s most exciting labels, its quality over quantity ethos making it a standard bearer for the UK’s world leading bass music scene. With a back catalogue that includes some of the biggest club hits of the past ten years, including tracks from Skream, Benga, Redlight and Jess Mills, and a reputation for throwing the biggest parties around, Digital Soundboy’s position in dance history is assured. Today the label’s roster of Shy FX, Breakage, B.Traits, Youngman, Dismantle and Stamina MC are all successful artists in their own right, but first and foremost Digital Soundboy remains a family, one that plays, parties and produces together and together continues to break new ground.

    The first officially released Digital Soundboy mix, 'Fabriclive 63' perfectly captures the carnival spirit of the label and its parties. From drum n’ bass to dubstep, dancehall to garage, via excursions into house and beyond 'Fabriclive 63' showcases the Digital Soundboy crew’s ability to bring together myriad genres and styles in the freshest way possible and create a pure party-starting selection. Mixed by Shy FX, B.Traits and Breakage, each separately choosing their favourite tracks before working on the mix together in the Digital Soundboy studio, 'Fabriclive 63' features a mix of exclusive dubs and upcoming releases from the Digital Soundboy family; tracks such as Zed Bias’ ‘Heavy Water Riddim’ and Dismantle’s ‘Warp’, classic anthems like Shy FX’s ‘Original Nuttah’, and the unexpected such as MANDY vs Booka Shade ‘Body Language’. An inspired selection that will put a smile on many a face and a bounce in your step, 'Fabriclive 63' ducks and weaves its way across the musical spectrum, and like the label itself, refuses to be pigeonholed.


    STAFF COMMENTS

    Philippa says: 49 (forty nine!) track mix CD taking in UK funky, dubstep, dancehall, jungle, house, grime, breaks and more - a proper floor-filling soundsystem mix-up!

    With over 20 years of DJing and more than 20,000 records in his vinyl collection, one of the world’s most talented house heroes, DJ Sneak, lends his tune selection, deck wizardry and pure love of house music to fabric 62. Born Carlos Sosa in Puerto Rico, Sneak was raised to the rhythms of salsa music, before moving to Chicago in 1983, and becoming captivated by the sounds of jazz, funk, soul, disco and of course house music. Originally a graffiti artist, Sneak soon became involved in selling music, starting his own label Defiant and working in the city’s infamous Gramophone record store, where he met artists and industry players, all the while developing his unmistakable jacking style. Releases on house music institutions such as Strictly Rhythm, Classic and Relief, as well as his burgeoning DJ reputation, led to Sneak’s international career blossoming in the 90s and early 00s, with tracks such as ‘You Can’t Hide From Your Bud’ and ‘Fix My Sink’ widely attributed classic status. Now heading up three of his own labels (Magnetic, Oomph and Sneak’s Classics), Sneak remains as relevant as ever, with artists from Ricardo Villalobos to Riva Starr queuing up to DJ and produce in collaboration with the house music legend.

    Sneak’s mix is ripe with carefully selected contemporary house nuggets with echoes of Chicago and the jacking house sound he loves, drizzled with elements of techno and dusted with overtones of big band swing, mixed to perfection. Sneak performed and recorded the mix live without the use of any computers, taking a transatlantic trip to bring together bumping Chicago grooves with muscular European techno.


    STAFF COMMENTS

    Philippa says: He eats steak for breakfast and plays funky house records at night; it's the one and only DJ Sneak, with an 18 track mix CD for Fabric.

    Looking back on the myriad of ways that the genre now known quite loosely as ‘bass music’ has mutated, one of the key figures in its evolution would have to be Bristol’s Rob Ellis, better known simply as Pinch. His fascination with what the outer limits of the dub sound can achieve has made him a distinct figure within the fluid group of like-minded dubstep musicians that defined the so-called Bristol sound.

    In 2003, a Kode9 set became the stepping-stone that was his initial contact with dubstep at London’s seminal FWD>>. This inspired him to start the first pure dubstep night outside of FWD>>, Subloaded, in his hometown of Bristol. With the city’s love of dub and long musical lineage, plus Pinch’s dedication to the importance of the actual sound, it quickly formed a dedicated community and became a yardstick by which other nascent events were measured. This had all been driven by a key moment in his own musical evolution which as he explains, “I lost interest in D&B and started buying minimal Basic Channel style techno, garage, grime and electronica instead - trying to mix them up together,” pre-empting the dominant sound of 4/4 dub-techno embraced by today’s crop of young producers, like Hessle Audio, who regularly cite the Bristol sound as a big influence.

    His Fabriclive offering comes hot on the heels of mixes from Pearson Sound and an artist with whom he’s just recently released a collaborative album on Honest Jon’s, Shackleton. These are all producers who work in a similar vein, that is, impeccable attention to sound detail, continual experimentation with rhythm whilst always maintaining a definitive ‘sound’ which can be traced throughout all their productions.

    "I am a supporter of the sound of vinyl and the cultural associations I make with this format so it was important to me - even if I do ultimately end up abandoning my beloved format one day - to stick by my guns and record the mix like this. I also made the whole mix start and finish in the same spot - meaning that the entire DJ mix can work as a loop if you put it on repeat. I really like the idea of certain kinds of music existing in its own infinite context and setting up the mix to loop like that was playing entirely into that idea." - Pinch


    Jamie Jones has become a household name and created an accessible brand for a new generation of dance music fans with his Hot Natured guise and Hot Creations label. His Fabric compilation comes as he rides the crest of a tidal wave of popularity for him and his Crosstown Rebels and Visionquest crew that are forming a new cluster of stars. Original and addictive, his timeless journey is typically charged with energetic loopy grooves, defining his personal influences and showcasing exclusive material from his army of talent.

    The mix starts with Hot Natured ‘Time Intro’, giving a nod to the recent Hot Natured smash single ‘Forward Motion’ and offering a hint of Jamie’s future projects with Ali Love and Kenny Glasgow of Art Department fame, before diving headfirst into a funk electro remix of the classic Sebastian Tellier ‘La Ritournelle’ reworked by pop’s newest heroes Metronomy. There’s not much room to exhale from there forward with Jamie’s own special reedits of Coat Of Arms and Karen Pollock, as well as some defining staples from his heart-winning DJ sets such as Cajmere featuring Jamie Principle ‘God Sent’ and Felix Da Housecat ‘Madame Hollywood’, an essential track from the early moments of his career. What sets this mix apart is an acute attention to the energy in the ride. Jamie Jones tackles dance music as a rock or pop star would, making it accessible and playing with the frequencies to continually keep it enjoyable.


    Hot on the heels of his well-received "Impermanence" artist album, the French techno figurehead Agoria presents one of the most diverse and meticulous sets to hit the fabric series to date. Jazz greats such as Ella Fitzgerald, Sun Ra and Tony Allen drift almost imperceptibly into and out of house and techno from the likes of Carl Craig, Cottam, and of course Agoria himself. Layers and snippets of each track are interwoven throughout the duration, making "Fabric 57" as much an orchestral composition as it is a DJ mix.


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