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Nazar

Guerrilla

    Angolan producer Nazar coined the term “Rough Kuduro” as an interpretation of the Kuduro musical style, translating the upbeat sound to expose the uglier side of what he saw in Angola, heard first on 2019’s astonishing six track ‘Enclave’ EP. ‘Guerrilla’, Nazar’s debut album, examines his family’s collective memory and country's past, threading together oral histories, political realities, and artful re-imaginings of direct horrors, to document his personal story of the 25 year Angolan civil war and its aftermath in a detailed and episodic manner, particularly how his father's rank as a Rebel General led to a prolonged and continuing separation of his family across continents.

    Nazar tells his story both impressionistically, and at times with stark directness. Rumbling bass overlaid with piercing synths mixes with field-recorded Ovimbundu folk song and a distant waterfall. The sound of a cocking gun leads into tumbling Kuduro beats and driving low-end bass. Elsewhere, slow, menacing dub suggests violent civil unrest, while reversed vocal shouts and protesting Portuguese rhymes evoke a pervasive atmosphere of chaos. Further in, we hear Nazar’s mother recalling the day she left home aged 16 to join the rebel movement, his sisters harmonising in the background over field recordings made in the ruins of his grandparent's home. After the housey ‘FIM-92 Stinger’, the album snaps back to the ferocity of conflict with the guttural ‘Immortal’, its deep bass shrouded in haunting shrieks driven by clicks and distortion, reflecting a time in the very early years of the rebel movement when witchcraft was used to procure immortality. ‘End Of Guerrilla’ is the final reprieve, reflecting the euphoria and melancholy that came with eventual ceasefire … “It’s about the end, but also dignity and remaining standing despite being mutilated. Making your voice heard despite not having anything to say.” 

    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.

    Jesse Kanda is a visual artist and musician widely known for his modern gothic surrealist art, especially his work with Björk, Arca, and FKA twigs, and in recent years for his own musical output as Doon Kanda. At Hyperdub, we are very excited by his transition into music; if there were a sound to his beautiful, otherworldly art, this is it in its pure form. ‘Labyrinth’ is his debut album, comprised of 13 pieces of new music, and 10 artworks. It is a dreamlike, exhilarating listen from start to finish, covering emotional ground from hell to heaven. It was created between summer 2018 and spring 2019 in London and Ontario.

    His two previous EPs 'Heart' (2017) and 'Luna' (2018) focused on melody across a spectrum of emotion, and like his visual work often metamorphosed pain into beauty. 'Labyrinth' chronicles a period of loss, in ecstatic fantasy. Stylistically, much of the album is in 3/4 time signature in rhythms reminiscent of waltz, allowing Kanda to create movement through melody. This idiosyncratic gothic style was hinted at in his first EP, and is in full bloom here. It is also a proposition of a new form of club music; one can imagine venues transformed into an alien world, where the music moves the crowd in previously unknown ways. The album has a narrative arc of building chaos, peaking with ‘’Mino’, then a resolve of clarity at ‘Bunny’. Jesse hopes listeners experience ‘Labyrinth’ in its presented order, while maybe flipping through the artwork in the accompanying full size 10 page picture book. 

    STAFF COMMENTS

    Matt says: Looking for summat fresh? Look for further pop pickers! Totally twisting my melon with his neo-gothic-electronica, Doon Kanda's "Labyrinth" is one of the most transportative and imaginative things I've ever heard. Incredible!

    Burial

    Tunes 2011 - 2019

      Topping off Hyperdub's 15th year, Burial selects 'tunes’ from the last eight years of his EP releases on the label, for this very welcome two CD collection.

      Sequenced by Burial, ‘Tunes 2011-2019’ shows the depth and brilliance of his post-‘Untrue’ development; from long, twisting, collage works which travel through unexpected zones, to a more pointed, poppier side, and back again to the haunted, open horizons of his beatless pieces.

      We hope this collection of Burial's work is familiar, yet unfamiliar, to each listener.

      17 tracks across 150 minutes, all previously released, six being available on CD for the first time.

      STAFF COMMENTS

      Barry says: Though his albums have possibly garnered the most adoration than anything else, Burial's post-LP outings have been an absolute rollercoaster of unbelievable groove and unrivalled ingenuity. For those of you that didn't snag the EP's, or if you're a CD buyer, 'Tunes' is absolutely essential.

      Raised in the multicultural and mind-broadening London borough of Enfield, Loraine James grew up hearing everything from steel pan music to Metallica, from jazz and electronica to drill and grime, and the results of this exposure can be heard on ‘For You And I’. In part the album explores the complexities of being in a queer relationship in London - “I’m in love and wanted to share that in some way … to make songs that reflect layers of my relationship.” – and as a whole ‘For You and I’ is rhythmically free flowing and sprawling, with melodies that evolve into rippling keys, feeling like a live jam session with a jazz mentality, contrasting the delicate and abrasive. Opener ‘Glitch Bitch’ is a warm ear-worm, brandishing swirling textures with undulating keys and compressed percussion, with an introspective theme revisited soon after on third track ‘So Scared’, whose glitched percussion and syncopated dub bassline build to a frantic meltdown melody.

      On ‘London Ting // Dark As Fuck’, inspired by Dizzee Rascals's ‘Boy In Da Corner', James explores the darker side of her production with her frequent collaborator Le3 BLACK laying verses over the skeletal track. ‘Hand Drops’ is an instrumental, about public displays of affection in a queer relationship. ‘Sensual’ reflects on intimacy with vocals by UK singer Theo, whose lyrics capture love and gentleness over a soft, minimal production of ethereal keys and scattered glitches. The albums’ title track is also the most colourful, it’s ecstatic and effusive chaos driven by fervent synths expressing elation and the joyful side of her relationship, while ‘My Future’ is a more reflective moment, where warping synths wash in and out with compressed kicks, as the artist considers the dangers that may come with her relationship : “I wanna tie the knot / But the rope is dangerous”. ‘For You And I’ is a deeply intimate and personal offering, expressing happiness, anxiety, joy, sensuality and fear through a vivid sound palette and an experimental sense of rhythm.


      Proc Fiskal

      Shleekit Doss EP

      After last year’s excellent ‘Insula’ album, Proc Fiskal returns to Hyperdub with the six track EP ‘Shleekit Doss’; in his own words, “a kind of representation of the time I was running the club night of the same name in Edinburgh. These tunes represent the night’s ethos of genre-defiance and high-energy futuristic sets, ecstatic and transcendent while still being fun and stupid. I was getting my friends to play and I made all the posters on my phone - like this EP’s artwork. I also started hoarding old FM synths which crop up a lot on the EP, and was reading a lot of sci-fi like Isaac Asimov’s ‘Foundation’, and ‘2001’. The night ran until last November when the bouncers and some punters got in a fight, the club got damaged, and unfortunately I got banned too.”

      Through this mayhem and misdemeanour, ‘Shleekit Doss’ feels like an oasis of calm; light, bouncy and melodic, the EP sees Proc developing the depth and range of his music in satisfying ways. The beatless, processed male voice choirs of ‘Satan’ open the set, breaking into glitchy drums before the melodies are time-stretched into a pretty drone and gentle rolling piano. Clouds of bittersweet synths waft across cut-up voices and clattering drums on ‘Smith’s Deli’, while ‘Pico’ is a driving mix of tight, tiny micro-edits that feel like micro-house crossbred with jungle breaks. ‘2 Moros’ takes the Sinogrime developed on ‘Insula’ deeper into dense rhythmic abstraction, and on ‘4 minutes’, charming synth melodies and 8-bit bass lines are threaded through skeletal drum machine kicks and snares. ‘Prop-O-Deed’ finishes the EP, Proc Fiskal displaying his inimitable gift for heart-wrenching anthemic melody, built around tuned Asian percussion and scratchy synth violin.


      Burial

      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.

      In late 2017 Hyperdub released "Diggin In The Carts", a compilation put together by Nick Dwyer and Kode9 of pioneering and rare Japanese video game music from the 1980s and 1990s. Since then, from Sonar Festival in Barcelona to Liquid Rooms in Tokyo, Kode9 has been touring a live audio-visual set in collaboration with visuals from anime legend Koji Morimoto, who also designed the artwork for the original compilation. Finally, on this first new Kode9 EP since 2014, a handful of these remixes see the light of day. 9 rivets his 80/160bpm rhythms onto these classic 8bit and 16bit melodies, re-animating the Steve Reich-ian arpeggios of Soshi Hosoi, the grimelike horn fanfares of Yuzo Koshiro, the sour pads of Koichi Ishaibashi, and pitching Tadahiro Nitta down into a slow building, frantic low end grind. Sleeved in artwork by Konx-om-Pax, adapted from the visuals from the live A/V performance.

      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.

      Producer Okzharp and vocalist//artist-cum-dancer Manthe Ribane both hail from South Africa, where Manthe still resides, while Okzharp lives in London where he is a DJ and producer, initially cutting his teeth in LV, who in 2007 were one of the very first acts signed to Hyperdub. Manthe has been at the forefront of South Africa's cutting edge fashion, art and dance worlds for over a decade. After leaving LV, Okzharp and Manthe started collaborating, going on to release two well-received EPs on Hyperdub, "Dumella 113" and "Tell Your Vision", recorded in Joburg and London respectively.

      The recording of "Closer Apart" reflects the title. Okzharp says 'Most of the music came out of headphone moments in hotel rooms, planes and airports in the brief periods of time that we spent together.’ Describing Manthe as a co -producer, he continues ‘She selected instrumental sketches and we developed them together, sometimes just keeping the bare bones or a melody or rhythm, or trying different elements or sounds.’ Even though the album was built long distance, the short periods they spent together were the ground zero for creativity. Okzharp recalls 'One particular moment in Milan last year, we had a whole free day before our flight so we visited the Salone di Mobile design show. We were so inspired by an installation there just walking around, listening to the amazing soundtrack. That evening our flight was delayed, so we sat on the floor of the airport terminal putting musical ideas down for "Time Machine" on the laptop speakers and writing the lyrics. 'Tic Toc time, we'll be fine / Airport queues, cerulean blues / Viper trails cross the skies / Lights reflect in your eyes...' "Closer Apart" has a softness and openness that contrasts the tougher sound of the EPs. Manthe explains, 'The new music is a 360 turn, an expression of my Lady(like) side. I grew up listening to Jazz, Classic and Gospel, I am a very soft spoken person, and it resonates with being confident with that. It's been crazy finding balance and finding a smart way to strengthen my weaknesses, I had to trust the process.’ 


      STAFF COMMENTS

      Matt says: Painfully fresh and emotional album here on Hyperdub. Evocative and heartfelt lyrics combine with cutting edge production and a skeletal, atmospheric and gaseous aesthetic. Well good!

      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. 

      "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. 

      Laurel Halo returns to Hyperdub for her third LP with a fresh approach and a new sound. Routed out of the electronic abstraction of 2015’s In Situ - but with clear reference to 2012's sleeper-hit Quarantine - Dust is an album revolving around loose and languid songs; warped, sun-filled, melted and at times, heavy-hearted and obscure. Recorded over a period of two years, the writing process began at EMPAC in upstate New York in January 2015. With access to microphones, percussion, keys and a wide range of routings, Laurel spent days alone in the cavernous space, later inviting musicians Eli Keszler and Lafawndah to join her there. Those sessions would eventually become this album: a collection of breezy, broken songs, based on woody instrumentation, sub bass and restless, intricate electronics.

      Earnest songwriting meets with modal cut-up strategies, improvisational playing with higrade digital dust. Tactile and fibrous throughout the record, the vocals and percussion coalesce and breathe life into each other. Swung grooves eddy and collapse; acoustic drums are warped into sensual, febrile melodies. The lyrics are themselves bricolage, without a specific narrator or place in time. They slip in and out of view, something that is visualised in the album’s inner panel. Extending the influence, the album opener ‘Sun To Solar’ is an adaptation of 'Servidão de Passagem' by Brazilian concrete poet Haroldo de Campos. In line with the album’s sound, Dust is 'Laurel Halo' as a flexible cast of characters. Filled with dialogue, the album helms an interchangeable ensemble of vocalists and musicians, featuring vocals from Klein, Lafawndah, and Michael Salu, as well as musicians such as Eli Keszler, Craig Clouse ($hit and $hine), Julia Holter, Max D, Michael Beharie and Diamond Terrifier. Laurel’s omnivorous influences play out in mutated fashion - coalesced, unfettered and inclusive - a broad musical palette free from entrenched modes, catalysed by digital production that could only happen in 2017

      Hardcore breaks revivalist / future bass maestro, Zomby comes at us with a brand new LP; including THAT collaboration with Burial ("Sweetz"). "Ultra" sees the esteemed producer dipping into a number of futuristic and dystopian styles. He warps discordant Eski grime on numbers "Burst", "Freeze" and "Yeti", creates dreamlike neon-blooms on "Her" and "Thaw", and builds crystalline music box takes on house and 2step on "Glass’ and "I". Side A sees the first of four collaborations as "Fly 2" has the amazing Banshee co-creating an icy but euphoric anthem for bedroom ravers and modern lovers across the UK's recession hit working classes. Not afraid to touch on England's dark underbelly, the record possess that same intent and attitude as, say, Dean Blunt's Babyfather, but does so without the lyrical content; instead relying on sonics and rhythms to get the point across. Across the LP Zomby also collaborates with Darkstar, Rezzett, Burial and HKE. These all throw up unpredictable fusions and immaculate fissions. Housed in red metallic mirriboard with debossed graphics, while the vinyl is additionally enclosed in spot-varnished hi-gloss card inner bags, designed by Ben Drury, reflecting the radioactive glow of Zomby's music. Already cited by many to be one of the best electronic albums of the year, and receiving heavy accolades from across the board, "Ultra" sees Zomby expand on his already impressive reputation with a fully realized vision of a broken England and a world fighting over what remaining resources we have left.

      STAFF COMMENTS

      Matt says: Cripes! This is good int it?! You're defo gonna be hearing me opening a few sets with "Her" over the dark months ahead. The rest of the album ain't bad either. 'TIP' I believe they say...

      Kode9 & The Spaceape

      Memories Of The Future - Yellow Vinyl Edition

        THIS IS A RECORD STORE DAY 2014 EXCLUSIVE, LIMITED TO ONE PER PERSON.

        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.


        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.

        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.

        FORMAT INFORMATION

        2xLP Info: Now pressed on 180g vinyl, updated to add the beatless atmospheric tracks that have always been integral parts of the complete CD versions, and also including unique codes for free download. Not re-issues, no new music, nothing remastered - just revised, improved and back in print.

        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.

        FORMAT INFORMATION

        2xLP Info: Now pressed on 180g vinyl, updated to add the beatless atmospheric tracks that have always been integral parts of the complete CD versions, and also including unique codes for free download. Not re-issues, no new music, nothing remastered - just revised, improved and back in print.


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