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700 Bliss

Nothing To Declare

    700 Bliss is the forward-thinking duo of DJ Haram and Moor Mother. Their first full length for Hyperdub is an album of noise rap that ties together the raw edges of club music and hip hop with punk energy, jazz, house-party catharsis, percussion-heavy analogue sound design, and cheeky skits, ranging from experimental rap tracks with rolling hi hats and lyrical bravado, to poetry set to noise and sound collage.

    Moor Mother and DJ Haram started collaborating in 2014 and eventually formed 700 Bliss, a blistering live act in Philly's DIY scene, releasing their 2018 debut, Spa 700 on Halcyon Veil / Don Giovanni Records. Since that time, both artists have grown global followings. Moor Mother is a prolific solo artist and collaborator, writer, and member of Black Quantum Futurism while Haram has been curating and creating radio shows, DJing, and producing (including an EP for Hyperdub in 2019).

    ‘Nothing To Declare’ is a smart, danceable revelation, a chiseled soundscape of dive bombing bass, piercing bleeps, crunchy distortion, and wavering synth lines. Welcoming in a variety of voices from their extended, cross-genre scene, 700 Bliss also bring along a cast of collaborators, including vocalists Orion Sun, Lawfandah, Ase Manual, and Ali Logout (from the band Special Interest), plus Palestinian producer Muqata'a, and writer M Téllez who delivers a surreal sci fi monologue over a pounding kick drum on ‘More Victories’.

    ‘Nothing To Declare’ is a deeply layered rewriting of hip hop and electronic music that gives more with each listen. You won't hear another rap album like it in 2022.


    A1. Nothing To Declare
    A2. Totally Spies Ft Lafawndah
    A3. Nightflame Ft Orion Sun
    A4. Anthology
    A5. Discipline
    A6. BlessGrips
    A7. Easyjet
    A8. Candace Parker Ft Muqata’a
    B1. No More Kings
    B2. Capitol Ft Alli Logout
    B3. Sixteen
    B4. Spirit Airlines
    B5. Crown
    B6. More Victories Ft M. Téllez
    B7. Seven
    B8. Lead Level 15 Ft Ase Manual



      ‘Escapology’ - Kode9's first album since 2015's ‘Nothing’ – is the first audio document of a wider project, Astro-Darien, ongoing since last year. His most ambitious work yet as a multi-disciplinary artist, ‘Escapology’ is the soundtrack album to the sonic fiction Astro-Darien, which will be released in October on Hyperdub sub-label Flatlines.The music reconfigures Astro-Darien's tense, off-world atmospheres into slices of high definition, asymmetric club rhythms, woven through thrilling sound design and vertiginous sonics.‘Escapology’ is just one entry point into of the Astro-Darien universe, which had begun to surface in 2021 as a two-week audiovisual installation on the main dance floor at club space Corsica Studios in South London, and as a multi-channel diffusion on the 50 speaker Acousmonium at the invitation of INA-GRM in Paris, the institution founded in 1951 by the musique concrète pioneer Pierre Schaeffer, composer Pierre Henry and the engineer Jacques Poullin. The artwork for both ‘Escapology’ and Astro-Darien was produced by Kode9’s long-time collaborators Lawrence Lek (digital world design), and Optigram (typography and gfx). CD is the only physical format for this release, packaged in a transparent blu-ray style disc case.


      01. Trancestar North
      02. The Break Up
      03. Toxic Foam
      04. Orbex
      05. Angle Of Re-Entry
      06. Freefall
      07. In The Shadow Of Ben Hope
      08. Sim-Darien
      09. Cross The Gap
      10. Uncoil
      11. Astro-Darien
      12. Lagrange Point
      13. Docking
      14. Torus
      15. T-Divine

      "Antidawn" marks the return of Burial - our nation's beloved shadow dweller, emo-garage innovator and cultishly adored bass producer. After nearly 2 decades unravelling the mystery - with countless breakdowns, assessments and even dissertations written about how the artist composes and records his music - William Bevan had decided it's time for a further redux.

      Reducing the sound to just vapours, the record 'explores an interzone between dislocated, patchwork songwriting and eerie, open-world game-space ambience', which perfectly puts into context what you have in front of you. Like walking through Skyrim's metaverse loaded up on dissociatives  and ketamine, there's no real linear structure to the album. As usual, snips, sounds and textures take precedent, but it's the silences and the spaces BETWEEN the snips that Burial has really emphasized on "Antidawn". There's a movement created with sparseness - a change of feeling; a beckoning towards the light through tense and dark realms.

      Encapsulated in a frozen, urban Winter; there's movements of painful sadness, juxtaposed between bursts of radioactive warmth as whispers of forgotten angels drift in on FM radio interference. It's quintessential Burial - crackles n static n all - but occupying a space that couldn't be further from the dancefloor. If his more recent 12"s have hinted at this wandering, non-linear, long-walk-home approach then on "Antidawn" we're lost & abandoned in the multidimensional realities of the present; with little reassurance that 'everything’s going to be ok'...

      It's as breathtaking and awe-inspiring as you'd expect from the UK demigod yet brittle, fragile, constricted and smothered in darkness. It's really nice to see him explore these realms and while thousands of his online bloggers and trolls will no doubt have countless critiques on his development; I for one am well on board.


      Matt says: Burial heads even further down the cold, long & lonely road into almost pure isolation. Like walking through Skyrim's metaverse loaded up on dissociatives it's a completely transportive, if fragile and desolate listen.


      A1. Strange Neighbourhood [11:04]
      A2. Antidawn [08:43]

      B1. Shadow Paradise [10:20]
      B2. New Love [07:13]
      B3. Upstairs Flat [06:07]

      Lee Gamble

      A Million Pieces Of You EP

        Lee Gamble completes his ‘Flush Real Pharynx 2019-2021’ album cycle with ‘A Million Pieces Of You’, the third EP of a triptych written in a time when the subjective experience of overload came to a halt, giving way to an overbearing sense of loss, burnout and a desperate need for hope. These seven tracks feel more reflective, more human than the two preceeding EPs; the serpentine dopplers and seductive supercar engines of ‘In A Paraventral Scale’, and imploding motion sculptures of ‘Exhaust’. A deepfake of Lee’s voice appears from the chaotic slow-mo crash of ‘Balloon Lossy’, timidly telling of “[garbled]… good news”. The uncanny spectre of deep fakes, AI and deep learning models give way to the melancholic loneliness of the solo piano in ‘Empty Middle Seat’. Then glimmering, golden pads on ‘Hyperpassive’ slowly crawl into the hopeful, bright arpeggiations of ‘Balloon Copy’. ‘A Million Pieces Of You’ is a ride through a part-synthetic, part-modelled, part-imitation, part-taught, part-human, part[1]hopeful, part-reflective and paradoxically affirmative space – an involuntarily fitting finale to an album originally conceived in a world different to the one we now inhabit.


        Matt says: Lee Gamble continues to lead the way in terms of experimental electronics and post-everything nightclub deconstructions. A bit mellower in parts than some of his recent outings, it's nonetheless an arresting and encompassing listen throughout.


        A1. Balloon Lossy
        A2. Newtown Got Folded
        A3. Obsession Model
        A4. Empty Middle Seat
        B1. You Left A Space
        B2. Hyperpassive
        B3. Balloon Cop

        Lee Gamble

        Flush Real Pharynx 2019-2021

          ‘Flush Real Pharynx 2019-2021’ is a three-part album from composer, producer and DJ Lee Gamble. Written over three years, and comprised of three seperate EPs, their individual releases unintentionally frame and timestamp a turbulent period. Across 77 minutes the full collection imparts a seamless tour through its three phases. File under #GullyAutomatedHyperConcrète.

          “If the most widely available music is also the most easily digestible, then it is no wonder that artists like Gamble are so keen to grapple with music’s purpose beyond entertainment—to be an art form in fierce dialogue with the present.” (Pitchfork)

          “This music gives form to the smart cities and networked realities of the 21st century … a thrilling meditation on the weirdness of now.” (Resident Advisor)


          01. Fata Morgana
          02. Folding
          03. Moscow
          04. BMW Shuanghuan X5
          05. Chant
          06. In The Wreck Room
          07. Many Gods, Many Angels
          08. CREAM
          09. Envenom
          10. Glue
          11. Naja
          12. Tyre
          13. Switches
          14. Shards
          15. Saccades
          16. Balloon Lossy
          17. Newtown Got Folded
          18. Obsession Model
          19. Empty Middle Seat
          20. You Left A Space
          21. Hyperpassive
          22. Balloon Copy

          Proc Fiskal's second album sees a reorientation of the source elements of his music. Where "Insula" fed off samples of the ramblings of his friends and sounds of his hometown, "Siren Spine Sysex" is laden with an inner voice of sampled Gaelic, Irish and English folk music, contorted and imbued into the futurist body of modern pop; the ghostly anima image of the female folk voice and the lamenting wheeze of the accordion rub against the rush of icey 808s and angles of grime. Joe Powers’ family history is in folk music, with several of his forebears active in the Scottish Folk revival of the 1960s. It's this cultural baggage - the Caledonian Antisyzygy of the earnest folk tradition he was raised in – alongside the modernist dance music he makes, that brings a personal element to the album. The music of "Siren Spine Sysex" examines dance music as folk music, re-routing them both comparatively, with the wordless emoting of chopped and screwed Gaelic vocals leading to joyous pop songs like "8 Mgapixel See Thru Phone" and "Leith Tornn Carnal". Though fast and detailed, "Siren Spine Sysex" feels relaxed and pastoral at times, its edits and drums sensual, swelling, and reactive to the music, its textures influenced by the tinny 16 bit flutes, strings, and wacky scores of gaming soundtracks.


          Matt says: Simply WOW. His first album was incredible and this one's taken it even higher! Casually dropping between half-tempo, luminescent breaks and plasma dub; there's no one who can conjure up the gooey, ketty daydreams that fizz and slurp like Proc. Beautifully radioactive intergalactic angel music. #LIKEx100


          A1. Anti Chessst
          A2. Convaerge Iana
          A3. Humancargoe Estt
          A4. Recall (Throate Achres)
          B1. Met Path Thoth
          B2. 8 Mgapixel See Thru Phone
          B3. Thurs Jung Youtz
          C1. Her In
          C2. The Most Beautiful Irish Song
          C3. Leith Tornn Carnal
          D1. Auld Peop
          D2. Iaosiphsean Powers
          D3. God Aed
          D4. Roman Fatigue

          ‘Medieval Femme’, Fatima Al Qadiri’s new ten track suite inspired by the classical poems of Arab women, invokes a daydream through the metaphor of an Islamic garden, at the border between depression and desire, where the present temporarily dissolves, leaving only past and future. Mixing neon drones and the faint outlines of Arabesque melody, ‘Medieval Femme’ reveals a fully-realised, dreamlike setting, shaded with colour and subtle friction. Conveying a thematic state of melancholic longing, Fatima seeks to transport the listener to a place of reverie and desolation, to question the line between two seemingly opposite states and rejoice in celestial sorrow. ‘Medieval Femme’ takes instrumentation from music of the Middle Ages, recast in a futuristic setting; soft-synth lutes, organs and pipes reverberate in space while gauzy pulses ripple in response. Fatima's vocals of repeated, mantra-like phrases are sometimes pitched and altered, drawing out increasingly intense peaks, angelic choruses and yearning incantations. On ‘Tasakuba’, Kaltham Jassim’s recitation of a couplet from the 7th century poet Al-Khansa', the sorrow of her words are given a turbulent, hallucinatory setting, before the album resolves on the final song, the limpid, airy ‘Zandaq’.


          Matt says: I'm loving all these hybrids of neo-classical, bass and ancient music that seem to be coming out right now. File next to: Doon Kanda, Faten Kanaan, Lee Gamble etc. Mega!


          A1. Medieval Femme
          A2. A Certain Concubine
          A3. Sheba
          A4. Vanity
          A5. Stolen Kiss Of A Succubus
          B1. Golden
          B2. Qasmuna (Dreaming)
          B3. Malaak
          B4. Tasakuba
          B5. Zandaq

          Foodman is Takahide Higuchi, from Nagoya, in central Japan. After remixing Jessy Lanza’s ‘Alexander’ last year, ‘Yasuragi Land’ is his first release for Hyperdub, alive with Footwork-inspired musical freedom and the sense that everything is a rhythm.Unusually, ‘Yasuragi Land’ has no bass. Instead, the album is breezy and refined; hyper-rhythmic music, made with a few simple tools, dances around your head. ‘Yasuragi’ and ‘Parking Area’ feel like gently deconstructed acoustic jazz, while ‘Ari Ari’ is deep house splattered with a cartoonish hiccup.

          ‘Hoshikzu Tenboudai’ and ‘Shiboritate’ bounce around the speakers like trance-inducing polyrhythmic updates of the New York minimalists, programmed past human limits. ‘Food Court’ is busy with mechanical rhythm and naive melodies, ‘Gallery Café’ pairs a cute wooden flute melody with micro edited wooden drums, ‘Michi No Eki’ is like a digital take on Magma's complex rock, and ‘Sanbashi’ indirectly approximates 80s R&B. The album ends on ‘Misyuku’, with a treated guitar lick sounding like it was stolen from Daft Punk, woven into dense interlacing drums.


          A1. Omiyage
          A2. Yasuragi
          A3. Michi No Eki Ft Taigen Kawabe
          A4. Ari Ari
          A5. Shiboritate
          A6. Hoshikuzu Tenboudai
          A7. Shikaku No Sekai
          B1. Food Court
          B2. Gallery Café
          B3. Numachi
          B4. Parking Area
          B5. Iriguchi
          B6. Aji Fly
          B7. Sanbashi Ft Cotto Center
          B8. Minsyuku

          Loraine James


            Made during summer 2020, Loraine James’ second Hyperdub album, ‘Reflection’, is a turbulent expression of inner-space, laid out in unflinching honesty, offering gentle empathy and bitter-sweet hope. ‘Reflection’ further develops a unique pop sensibility realised on last year’s ‘Nothing EP’, while tones of Drill and R&B seep through into this collection too. In contrast to the brash splashes of 2019’s ‘For You And I’ LP and the grimey anger of ‘Nothing’, ‘Reflection’ is pared-down and confident, taking the listener through how last year felt as a young black queer woman in a world that has suddenly stopped moving, the arc of the album peppered with Loraine's diaristic confessions.

            Starting positively with the gentle pop-trap of ‘Built To Last’ ft Xzavier Stone, into the bumpy instrumental of ‘Let's Go’, the album switches tone with ‘Simple Stuff’, followed by regular collaborator Le3 bLACK amplifying Loraine's vulnerability on the downcast drill of ‘Black Ting’, then ‘Insecure Behaviour And Fuckery’ is a techno glide which pairs Nova's confrontational plea for respect, delivered in monotone autotune, against deep Drexciyan chords. With Baths on vocals, the weightlessness of ‘On The Lake Outside’ soothes numb feelings, and Eden Samara explores the shadow world of anxious dreams on the airy R&B of ‘Running Like That’. Closing track ‘We're Building Something New’ with Manchester rapper Iceboy Violet brings the album together, confidently suggesting a new world is in reach. ‘Reflection’ is a brave step forward for a unique and creative 21st century musician

            TRACK LISTING

            A1. Built To Last (ft Xzavier Stone)
            A2. Let's Go
            A3. Simple Stuff
            A4. Black Ting (ft Le3 BLack)
            A5. Insecure Behaviour And Fuckery (ft Nova)
            A6. Self Doubt (Leaving The Club Early)

            B1. On The Lake Outside (ft Baths)
            B2. Reflection B3. Change
            B4. Running Like That (ft Eden Samara)
            B5. We're Building Something New (ft Iceboy Violet)


            Chemz / Dolphinz

            "Chemz" is hooky, rushy and loved-up - both an unhinged premonition of unleashed post-pandemic joy, and a demonic flashback to past ecstasies in a hardcore style perfected in the UK. "Chemz" is a 12-minute rave monster that has ingested several tracks and incorporated them into its distended body. At the other end of the Burial bi-polar spectrum, "Dolphinz" is a desolate oceanic love letter to our underwater friends.

            STAFF COMMENTS

            Matt says: Still languishing comfortably in a decade-n-a-half long purple patch; Mr. Beven's faultless formula returns to Hyperdub. "Chemz" is up there with some of his most anthemic offerings to date; an endorphine-jacking hit of skewed 2-step littered with rave idents and possibly the catchiest garage hook of the last century! Literally unmissable. DO NOT SLEEP.

            TRACK LISTING

            A. Chemz [12:31]
            B. Dolphinz [09:03]

            Lawrence Lek

            AIDOL (OST)

              Hyperdub are excited to present our first soundtrack release, Lawrence Lek's score for his debut feature film ‘AIDOL’, which premiered at Sadie Coles HQ in 2019 and has been shown at numerous virtual and physical festivals and exhibitions worldwide. Lawrence Lek is a simulation artist who uses computer-generated animation and video game engines to create films and virtual worlds that play with the language of science fiction, music videos and corporate world building. He has released soundtracks to five of his previous projects, most recently ‘Temple’ OST (Vinyl Factory, 2020).

              ‘AIDOL’ continues his on-going 'Sinofuturist' cinematic universe, which posits the creative theory that China's technological rise is an emergent form of Artificial Intelligence. ‘AIDOL’ is a CGI fantasy that tells the story of a fading superstar, Diva, who enlists an aspiring AI songwriter to mount a comeback performance at the 2065 eSports Olympic finale. Set in a realm of spectacular architecture, sentient drones and snow-deluged jungles, ‘AIDOL’ revolves around the long and evolving struggle between humanity and Artificial Intelligence; a shifting and seductive virtual reality, punctuated by Diva’s songs and the voice of Kode9 as the unforgiving label boss. The soundtrack is a delicate lattice - complex, opaque and entirely synthetic. Diva’s yearning vocals - created with a Vocaloid voice synthesiser, sung in English and Mandarin - cast classical melodies over billowing, intricate arrangements. The instrumental tracks, produced with composer Seth Scott, are elegiac and beautiful, hybridising the film score archetype, folding in patterns from game soundtracks, vaporwave, and ambient fourth world music.

              TRACK LISTING

              A1. Intro (My Single Isn't Finished Yet)
              A2. Deep Blue Monday
              A3. In The Game
              A4. Chance Encounter (Jungle Theme)
              A5. Call Of Beauty
              A6. Welcome To SoMA
              A7.Unreal A8.Superstar

              B1. One Nation
              B2.Beware Your Fans, Diva
              B3. Call Of Beauty (eSports Reprise)
              B4.Followers (Diva's Theme)
              B5.Farsight's Greatest Star
              B6. In My Prime (Bonus Track)
              B7.Apocalypse (End Credits)

              The Bug Ft Dis Fig

              In Blue

                The Bug aka Kevin Martin, and producer/vocalist Dis Fig aka Felicia Chen, refer to their style on ‘In Blue’ as “Tunnel Sound”; a foggy, melancholic meltdown of narco-dancehall-soul and dread-drenched, electronic dub. The 2018 prototype rhythms for this album were a continuation of Martin’s ongoing quest for a futuristic dancehall mutation, but more sci-fi, aquatic and smokey than before. An obsessive search for the right sultry 2AM voice to ride his syncopated walls of sub, fuzzed out white noise and infinite echoes eventually led him to Dis Fig’s torched soul-jazz glow, and 20 months of subsequent lab exchanges have resulted in the deeply sensual pulsations and lyrical long shadows of ‘In Blue’ - an album that shares shades of King Midas Sound’s wrecked lovers rock, alongside the bass immersion that The Bug has become infamously known for. Just as Martin took a stylistic swerve on ‘In Blue’, so did Chen. Previously known for experimental noise onslaughts and emotional exorcisms, she opts here for threatening intimacy and hushed confessionals, concentrating on bittersweet vocals and seductive surprises that are all the more potent for their inferred narratives and delicate delivery. Mixed during lockdown, the sense of claustrofear, escapism and tension throughout is palpable. With the bewitching croon of Dis Fig directing the flow, carnality and violence merge under the turbulent, cinematic surface of an hypnotically addictive album.

                TRACK LISTING

                A1. Around Me
                A3.Destroy Me
                B2.In 2 U

                C2.Blue To Black
                D1.No Return
                D3.End In Blue

                ‘All The Time’, Jessy Lanza's first album since 2016's ‘Oh No’, is the most pure set of pop songs that she and creative partner Jeremy Greenspan have recorded, reflective and finessed over time and distance. Innovative juxtapositions sound natural, like rigid 808s rubbing against delicate chords in ‘Anyone Around’, subtle footwork flutter giving a nervous energy to ‘Face’, unusual underwater rushes underpinning ‘Baby Love’.

                The songs also sound more “live” than ever before. Jessy’s voice is treated, re-pitched and edited on songs like ‘Ice Creamy’ and gestural sounds seem to respond to her lyrics in songs such as ‘Like Fire’, which reward the listener on repeated plays. More than previous albums, the lyrics on ‘All The Time’ became an important focus for Jessy too, channelling the negativity of anger and frustration arising from some significant changes in her personal situation into the text. These lyrics sometimes process raw feelings, which aren't obvious to begin with, but are soon felt, standing in stark contrast to the cushioned settings of the music. ‘All The Time’ has ended as a triumph and an abstracted diary of a sometimes difficult, but enduring friendship and creative relationship, and it’s their best work yet.

                STAFF COMMENTS

                Barry says: Jessy Lanza has made many waves in the music world, finding a perfect home in the home of off-piste electronic adventures, Hyperdub. This one sees Lanza in a more playful mood, encompassing aspects of synthpop, future beats and r&b. It's a beguiling and exciting listen, and a superb return for Lanza.

                TRACK LISTING

                A1. Anyone Around
                A2. Lick In Heaven
                A3. Face
                A4. Badly
                A5. Alexander
                B1. Ice Creamy
                B2. Like Fire
                B3. Baby Love
                B4. Over And Over
                B5. All The Time

                Mhysa, the newest addition to the Hyperdub roster, is ‘a popstar for the cyber resistance’ hailing from Maryland via New York. "Nevaeh" is lo-fi R&B with a bedroom feel and challenging lyricism focussed on identity and black experience for the online generation.She started "Nevaeh" in late 2017, shortly after the release of debut album "Fantasii", recording at home with some input from Lawd Knows, a frequent collaborator on her Scraaatch project. It is Mhysa’s intimate reflection on the black femme experience from multiple vantage points : sex and sexuality, self-love and self-discovery, black empowerment and lineage, and pleasure or the lack of it.

                She describes the album as 'a prayer for Black women and femmes to be taken to or find a new and better world away from the apocalypse ... a safe space, a sort of negro heaven.' "Nevaeh" is deeply personal but easily relatable, its intimacy heightened by scattered acapella moments and interludes referencing black pop culture, where Mhysa’s delicate voice is laid bare, while other tracks reprise the melancholic R&B her mother raised her on, updated through a queer lens. Conversely, several of the album’s tunes have found space in Kode9’s club sets over the last year, like the mischievous "Sanaa Lathan" and skeletal "w_me". Of this record’s progression from the last, Mhysa sought 'to be more vulnerable and experiment with vocal range…to write more complicated vocal melodies that would be harder to do', with her production now experimenting with new techniques, and (often self-taught) live instrumentation, as is her family tradition.

                TRACK LISTING

                A1. Opening Skit
                A2. Float
                A3. Before The World Ends
                A4. Na Na Drift
                A5. When The Saints (Interlude)
                A6. Sad Slutty Baby Wants More For The World
                A7. Ropeburn
                A8. W_me Interlude
                A9. W_me
                B1. No Freedom
                B2. Breaker Of Chains
                B3. Sanaa Lathan
                B4. Honey, Sweetie, Baby
                B5. Bbygurl
                B6. Brand Nu
                B7. BELIEVE Interlude
                B8. No Weapon Formed Against You Shall Prosper
                B9. When The Saints (reprise)


                Claustro / State Forest

                Ok chaps and chapettes, new Burial here for you to get your filphy mits an ears around...!

                "Claustro" occupies side A and sees Burial's formula given an urgent update. There's a killer female vocal hook, fast paced n skitty garage beats (thoroughly Burialized with hiss and coke can pops as always...) plus some nice bass plumes, ravey hoover lines and a kinda ascending / descending, slightly computer game vibe to the mid-range riff. Gotta make it to the end on this bad boi too - there's a killer switch around to see off the last 32 bars or so.

                It's destined for repeat plays across the radio networks and cutting edge club nights but there's nothing better than a Kode9-approved, 180g wax pressing to bring out all those gritty details and smash outta your bedroom window for all the neighbours to enjoy!

                B side track, "State Forest" is an ambient atmosphere, nicely constructed and full of some very interesting, bleak soundscapes; but you'll be disappointed if you're looking for another club banger to compete the package. Thankfully, that A-side track absolutely slays it, so you won't feel hard done by forking out eight quid. It's also nice to see the producer confident and inspired as ever. We heart Burial! 

                STAFF COMMENTS

                Matt says: Urgent, endorphin-rushing greatness from the UK master. "Claustro" is hooky enough to get repeat radio plays, but deadly enough to soundtrack that peak moment of release in any club environment. He's still got it!

                Barry says: There's never a reason not to order a new Burial record on sight, and this one will almost certainly fly like the rest. Get on it.

                TRACK LISTING

                A. Claustro 
                B. State Forest


                Seven Steps Behind

                  Since Danielle Mana's 2017 debut EP for Hyperdub, ‘Creature’, which was a taut, evocative suite of beatless, almost neo-classical electronics, we now find his music has caught an alien virus and started hallucinating. On ‘Seven Steps Behind’, the borders between reality and the weird have collapsed on each other, and with each listen through its zigzagging course, you’re rewarded by its strange twists and turns. ‘Seven Steps Behind’ is an electronic album that doesn’t always sound electronic; a great deal of the record has been created to sound like prepared pianos, harpsichords, cellos and flutes. At other times, sampled acoustic instruments and specially recorded sessions have been processed through software and careful editing. It’s this sophisticated layering of contrasting versions of the same sources that help give this record its uncanny balance.

                  The album also plays with your sense of time in its mostly drum-free hall of mirrors, pulling from minimalism, chamber music, dark jazz, and synthesiser experiments. Mana’s singing voice also makes it’s debut here, albeit adorned by abrasive FXs. His lyrics are encrypted in noise, in fitting with the music’s chimeric character, casting images for the listener to decipher. His heavily manipulated voice enters on second track ‘Myopia For The Future’, sounding something like a singing motorbike pitched over bouncing ostinatos, or on ‘No Body’s inhuman, word-less range, where it’s impossible to tell where the human finishes and the machine starts. Or in the case of ‘Leverage For Survival’ it’s animal and machine. Here, as with the album’s eponymous final track, a sensory assault subsides to reveal a heart-wrenching melancholy that anchors the record. Listening to ‘Seven Steps Behind’ is like stepping into a dream, with all the curious emotions and buried meaning that involves. Yet for all its restless, shifting energy it manages to hold both dissonance and melody in sweet proportion.

                  TRACK LISTING

                  A1. Risk Taking
                  A2. Myopia For The Future
                  A3. Talking / Choking Ft. Yendry
                  A4. A Note To The Limits
                  B1. Swordsmanship
                  B2. Leverage For Survival
                  B3. Symphony Of Regulation
                  C1. Solo
                  C2. No Body
                  C3. Instinction
                  D1. Soaking In Water
                  D2. Seven Steps Behind


                  Death Becomes Her

                  Angel-Ho is known as one of the founders of Non Worldwide, alongside Chino Amobi and Nkisi. Highly regarded as a DJ and electronic music producer, on ‘Death Becomes Her‘ she shifts things up to another level. Pulling on inspiration from her flamboyant favourites from Lady Gaga, Missy Elliot, and Bjork through to Kanye West, this ambitious, artful and sometimes radical album of neo-pop pushes the pop framework even further, often teetering on the brink of vertiginous chaos and dissonance, whilst slowly revealing its depth and grandeur once you settle into its sound world. Alongside a cast of collaborators that include French producer Nunu, South African producer Baby Caramel, Asmara Maroof from Nguzunguzu, Bon and Gaika, Angel re-orientates the usual trans-atlantic pop sound to encompass a brace of experimental, diasporic producers to create beats that alternate between angular, propulsive, murky, loose, abrasive and breezy.

                  On top of these often advanced rhythms, she also raps and sings for the first time with lyrics about love, sex, glamour and struggle, universal fantasies, treated with an ambiguity that restructures the narrative within a trans-identity. Her choice of guest MCs also reflects this energetic queering with K-$ and Qweezy from Cape Town, plus underground Asian American rapper K-Rizz laying down assertive bars. On ‘Death Becomes Her’, Angel-Ho carves out a new space with her unique take on contemporary pop. Overflowing with charisma, sometimes reminiscent of Grace Jones, this album is fiercely sassy and celebratory. It feels like the start of something very exciting.

                  TRACK LISTING

                  A1. Business
                  A2. Drama
                  A3. Like A Girl Ft. K Rizz
                  A4. Jacomina
                  A5. Muse To You
                  A6. Good Friday Daddy Ft. Queezy

                  B1. Cupido
                  B2. Live
                  B3. Desity
                  B4. Pose
                  B5. Bussy
                  B6. Baby Tee Ft. K-$
                  B7. Like That
                  B8. Parachute

                  A generation younger than the founders of the Teklife crew, DJ Rashad and DJ Spinn, DJ Taye was originally a rapper and beat maker before hooking up with the collective and jumping into the world of footwork production and DJing. However, it was Rashad’s untimely passing in 2014 that was the unlikely catalyst for developing the sounds and ideas for this album. He says, "When Rashad passed away I felt inspired to continue evolving the music that I loved so much coming up in this world. So, I had to do something…make something brand new." 100% committed to pushing further the potential of the footwork template, Still Trippin’ is ambitious in its range and scope.

                  Taking two years to formulate, the record broadens the possibilities of the sound, forcing it to adapt to songwriting, and also revives Taye’s talent for MCing and producing beats to which he can rap and sing. Furthermore Taye definitely ups the ante with his complex and precise drum programming, never losing sight of footwork’s ability to confound. The album features a range of guests that span contemporary music; the eccentric, instructive rapping of Chuck Inglish of Detroit duo the Cool Kids is featured on ‘Get It Jukin’, Odile Myrtil, a young vocalist from Montreal, lends her smokey soul to ‘Same Sound’, Fabi Reyna, the editor of the celebrated women’s guitar magazine She Shreds, sings and plays bass and rhythm guitar on ‘I Don’t Know’ and Jersey club queen UNIIQU3 offers production and rapping on ‘Gimme Some Mo’.Also, Teklife members DJ PayPal and DJ Manny assist on production, and DJ Lucky is a guest MC on ‘Smokeout’. Taye is ambitious in his hopes for the album; "I took this as an opportunity to not have boundaries with footwork. Different approaches to our ‘underground’ sound to make it broader. It’s only underground until it crosses that visible threshold.” This album brings all of this to the forefront. 

                  TRACK LISTING

                  A1. 2094
                  A2. Trippin’
                  A3. Need It (ft DJ Manny)
                  A4. Smokeout (ft DJ Lucky)
                  A5. Same Sound (ft Odile Myrtil)

                  B1. 9090
                  B2. Anotha4 (ft DJ Manny)
                  B3. Bonfire (ft DJ Paypal)
                  B4. The Matrixx (ft DJ Manny)

                  C1. Get It Jukin’ (ft Chuck Inglish)
                  C2. Pop Drop (ft DJ Paypal)
                  C3. Gimme Some Mo (ft UNIIQU3)

                  D1. Truu (ft DJ Paypal)
                  D2. Closer
                  D3. I’m Trippin’
                  D4. I Don’t Know (ft Fabi Reyna)

                  "The Underdogg" is DJ Tre's debut EP for Hyperdub. He contributed two brilliant tracks to the DJ Rashad tribute set "Next Life", but compared to other long term members of the Teklife footwork crew, he hasn’t released much. Tre has been about since the early days, born and raised on the south side of Chicago. Encouraged by Rashad and his partner DJ Spinn, he has been making tracks since 1999, over a decade before footwork's ascent to global popularity. On this EP his sound, for the most part, is rooted in the speedy 4/4 of juke. It features a sparse and minimalist take on footwork but he's got a knack of adding in tight little switches and details that keep the tracks moving as essential dancefloor weapons. The EP starts with "It’s House Hybrid", which has its musical roots in Chip E's "It's House", one of the very earliest house tracks. It’s a tried and tested dancefloor devastator on dubplate, built on a crackling and hiccuping juke 4/4 which grows in intensity, until a ferocious amen break cracks it open and joins in the onslaught. "A Hammond Jam" matches a moody organ with typical sub rumbles and ghetto-tek drum programming. "Get Dat Ass Up!" bounces against a twitching melody that'salmost purist Detroit techno in its executed, save for the stuttered footwork rhythm that underpins it all. "Tha Rhodez Jam!" micro-edits a delicate Rhodes sample into flickering shapes against switching 8 bar patterns of drums that go from rolling to soca-like pulses with whistles. Essential tools for DJs on the hyperplane.

                  It's always an exciting time when Burial drops a new single, and this one features his long term friend, cohort and, really, if you think about it, the person responsible for bringing the skills of this enigmatic Londoner to our ears: Kode 9. If it wasn't for Steve Goodman's inspired A&R work way back in 2005 then who knows if this self-confessed recluse's body of work would have ever seen the light of day. A symbiotic relationship between label and artist, pretty much all Burial's solo work has been reserved for Hyperdub, with just a few mixes and collabs sneaking onto other outlets. Correct me if I'm wrong, but I think this is the first time since 2009 that the label head (not to mention author of Sonic Warfare) has remixed one of the most cultishly adored people in bass music - making this new 10" one hell of a coup! Burial's side continues to push the depths of deep UKG, rolling out one of his idiosyncratic shuffles to a fiery angelic mellodyne'd vox - classic Burial if you will then, but fresh and brand new and guaranteed to please. Kode 9 opts to set a new gold standard for the footwork / 150BPM genre, displaying a rhythmic prowess and beat construction that rivals anything from the trap genre with some of the most advanced synthesis (I'd you'd expect) passages to boot. As essential as it gets then. 

                  TRACK LISTING

                  A. Rodent 04:25 120bpm

                  B. Rodent [Kode9 Remix] 04:41 150bpm


                  Young Death / Nightmarket

                  Finally, time for a brand new solo effort from the shadowy producer, Burial.  'Young Death' sees a warped vocal cut smeared atop atmospheric drones before launching skyward into an airy and euphoric arpeggiated synth riff. Swirling chimes and sliced loops melt into a warm bath of celestial drones and crackling faded polaroid memories. 

                  'Nightmarket' takes the arpeggio route, but in a more instantly noticeable way. Opening with an uncompromised broken-chord rise and then abstracting that into darkened corners. Faded covertly into juddering drone and grown organically into slowed-down chordal bliss. Ambient passages intersperse with assured but physically fragile solar-flare lights before launching into a bout of retro-futuristic dusty hardware jet-stream shimmers. 

                  As stylistically contrary as you would ever expect from Burial, but without losing any of the post-everything charm.  A classic. 

                  TRACK LISTING

                  1. Young Death

                  2. Nightmarket

                  Kode9 & The Spaceape

                  Memories Of The Future - Yellow Vinyl Edition


                    First ever vinyl pressing of Kode9 & The Spaceape’s 2006 debut album, including previously unreleased extra track ‘Stalker (alt edit)’.

                    Limited edition of 1000 copies exclusively for Record Store Day, pressed on translucent yellow vinyl, in gatefold sleeve.

                    TRACK LISTING

                    Side One
                    1. Glass
                    2. Victims
                    3. Backward
                    4. Nine

                    Side Two
                    1. Curious (Ft Miss Haptic)
                    2. Portal
                    3. Addiction
                    4. Sine

                    Side Three
                    5. Correction
                    6. Kingstown
                    7. Nine Samurai
                    8. Bodies

                    Side Four
                    9. Lime
                    10. Quantum
                    11. Stalker (Alt Edit)


                    Kindred EP

                    Almost a year on from his much-hyped "Street Halo" EP, Burial is back with another slab of wax that's had the blogosphere going into overdrive. Featuring three new tracks pressed on high grade 180g vinyl for optimum sound reproduction, and running beyond 30 minutes, the ‘Kindred EP’ is an ambitious work that pushes further into the unique musical territory Burial occupies.

                    Title track "Kindred" traces its lineage back through Burial's own "Untrue" LP to early, minimal 2-step vibes. More meths than Cristal, Burial's take on the skipping, 90s UKG sound involves layers of interference, angelic soulful vocals, grinding bass and blissful synth washes. "Loner" goes for a 4/4 funky house groove, but with all sounds submerged into a dense fog. Lastly, "Ashtray Wasp" goes for the bassline sound - although I doubt you'll be hearing this on a Niche Pack (Google it) anytime soon. With a triple 'A' rating for atmosphere, all three tracks are a must for Burial fans.

                    TRACK LISTING

                    A. Kindred
                    B1. Loner
                    B2. Ashtray Wasp


                    Street Halo

                    Hot on the heels of his collaboration with Four Tet and Thom Yorke, Burial drops this solo 12" - his first in four years! Title track "Street Halo" sounds like 1990s speed garage (the bass-heavy, 4/4 end of UKG), but filtered through Burial's unique sound vision. Intricate, crackly (fear not, it's a deliberate atmospheric rather than any kind of pressing fault) and dream like, the track's rhythm moves along at a fair pace, while the melody and frail vocal seem to drift along on the ether. A beauty. "NYC" is even more fragile, with a sepia-tinted 2-step rhythm underpinning more retro crackle and a sped-up vocal - it's like Autotuned R&B for the 22nd Century. Lastly we have "Stolen Dog", possibly the most melodic of all three tracks, utilising a rolling broken house to tie down a subtle vocal and simple keyboard refrain.

                    The fourth and final EP taken from Terror Danjah’s "Undeniable" CD opens with the amazing "Leave Me Alone" featuring Terror’s old vocal spar Bruza. This time it’s different though - instead of his usual cockney mateyness, Bruza’s reflecting on his bad mood. "All I Wanna Do" is the album’s densest track, featuring East End singer / songwriter Lauren Mason, who complements Terror’s moody music with a forlorn and angry vocal about a break-up, Terror editing her lines into strange rhythmic shapes which rub against the subtle trap-doors and fills of his accompaniment. "Time To Let Go" is light and breezy in comparison. With light Rhodes keys and a vocal from Terror himself , this is a house track in disguise, as the constant shifting patterns of the drums work against the flow of the melodic elements to produce something that is simultaneously recognisable as a both genre track and a Terror Danjah trademark tune. Number Four in a series of four limited-edition EPs bringing "Undeniable" to life on vinyl. Limited pressing on phat wax.

                    The third EP taken from Terror Danjah’s "Undeniable" CD kicks off with one of the big surprises of the album, the inimitable genre-traversing "SOS", with a simple melodic riff played out over drum patterns that shift up in down in rhythm and tempo, grinding to a halt in the middle of the track before starting up again. "Sonar (Selassi Mix)" is a beatless mix of Terror’s classic grime riddim ‘Sonar’, where the originals rhythmic fx and melody pulse in and out of the mix creating strange smeared textures as sounds rub against each other. The album’s title track "Undeniable" features D Double E of Newham Generals, doing something you’d not expect of him – being romantic over Terror’s warm, colourful chords and melodies. Number Three in a series of four limited-edition EPs bringing "Undeniable" to life on vinyl. Limited pressing on phat wax.



                    Burial returns with "Untrue", a new record of weird soul music, which lovingly processes spectral female voices into vaporised R&B and smudged 2step garage. Vocal lines are blurred, smeared, pitched up, pitched down and pitch bent until their content is cast adrift from their original context and they whisper their saccharin sweet nothings into the void. The album continues with crackle-drenched yearning and bustling syncopations, haunted by the ghosts of rave, but also reveals some new Burial treats with a more glowing, upbeat energy. Where "Burial" first was humid, suffocating and unrelentingly sad, "Untrue" is less sunless. Many of the tracks are so sweet, they become toxic, underscored by the almost geological rumbles of growling basslines. Unlike the overpoweringly melancholic prevailing mood of before, Burial's sound is now better defined as a downcast euphoria. Forget central heating, the radioactivity of this album is all that you'll need to keep you warm this winter.

                    TRACK LISTING

                    Archangel 3:57
                    Near Dark 3:52
                    Homeless 5:20
                    Shell Of Light 4:39
                    Raver 4:57
                    Etched Headplate 5:58
                    Untrue 6:15
                    UK 1:41
                    Endorphin 2:58



                    London's Burial issues this belated overview of his career to date on Hyperdub, including the definitive "Spaceape" and other formative dubstep and grime highlights. It encompasses the myriad of styles which have followed and continue to manifest themselves after UK garages's implosion. Universally acclaimed as one of the best, most ground-breaking releases of 2006.

                    TRACK LISTING

                    Untitled 0:36
                    Distant Lights 5:26
                    Spaceape 4:02
                    Wounder 4:52
                    Night Bus 2:20
                    Southern Comfort 5:02
                    U Hurt Me 5:23
                    Gutted 4:43
                    Forgive 3:07
                    Broken Home 5:05
                    Prayer 3:46
                    Pirates 6:10
                    Untitled 0:55

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