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Ikonika drops her third album to date and the first original material for a sometime after a busy remix and performance schedule. Like so many artists in 2017, Ikonika loads the full spectrum of new musics into her cannon - R&B and hip-hop rhythms fused with techno's modern sheen and the soundsystem rattling power of UK bass. She combines boogie synth licks with grime's urgency on "Noblest", enlisting the wonderfully talented Andrea Galaxy in the process. She collaborates with rising stars throughout the album, notably with MC Jammz on "Sacrifice" a grime slow jam with wickedly devilish intentions and one of the strongest raps I've heard all year. There's an air of futuristic mysticism throughout, depicted perfectly in the album's artwork which takes its inspiration from West London’s Golden Mile, a stretch of the Great West Road where the A4 meets the M4, and the road takes on the character of the arcade game Poll Position, with art deco factories and illuminated, hi-tech signage selling lifestyle products. It’s this kind of mix of futuristic and industrious with a touch of gentle glamour that the album exudes. As always, the future is now.

Kode9

Diggin In The Carts Remixes

    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. 

    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.

    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.

    New EP on Kode9's omnipresent bass imprint Hyperdub from Doon Kanda - an artist, animator and musician based in London. He was born and raised in both Japan and Canada and his rich cultural diversity is displayed across myriad production nuances and styles. Glassy and ethereal like much of Hyperdub's modern output, the album plays across it's one side with grace and poise; lost icy melodies and haunted love songs playing into a blizzard of well constructed drums and rapid fire rhythms.

    As usual, and innovative and fresh release from the Hyperdub camp but as tends to be the case of late, there's a delicate air of pop music's accessibility and stylishness present that takes it beyond the confines of the nightclub. Top marks. 


    FORMAT INFORMATION

    12" Info: One-sided 12"

    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

    STAFF COMMENTS

    Barry says: Since her work on 2012's 'Quarantine', Laurel halo has been one of the masters of leftfield dubby electronics. Comprising of pitched samples, sturdy percussive backlines and luxy keys, 'Dust' continues her mastery of the craft with a gripping and varied foray through house, techno and leftfield with effortless grace and undeniable panache. Brilliant.

    Burial

    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. 



    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...

    Jessy Lanza's second album 'Oh No' is addressed to her own constant nervousness. The pressure of music making, which used to calm her nerves, has led to a whole new world of contingencies that stoke the anxiety mill. The exclamation 'Oh No', for Jessy, marks yet another incident of randomness interrupting her tranquillity. All of which seems at odds with the confidence and spontaneity of this second album.

    Made in her hometown of Hamilton, Ontario, with production partner Jeremy Greenspan from Junior Boys, the plaintive, reverb drizzled mood of the first album has all but given away to a more direct, self-assured and joyful set. As with many artists whose hometown lie off the usual network of cultural hotspots, 'Oh No' is driven positively by the idea of making music that isn't inspired by where she lives. Instead, the album resonates more with the philosophy of experimental pop of Japanese 80s electro outfit Yellow Magic Orchestra and Jessy's breathless, pitched vocals are reminiscent of YMO collaborator Miharu Koshi. Playfully laced with cascading arpeggios, crispy drum machines and breezy songs, 'Oh No' has an infectious energy that has been brewing in her live shows since her first album. As Jessy says ‘I want to make people feel good and I want to make myself feel good’.

    The album oscillates between the languid, coiled, arpeggiated slow jams of ‘New Ogi’, 'Going Somewhere', 'Begins', 'Could Be U', 'I Talk BB' and the low slung 808 groove of 'Vivica', where Jessy’s vocal gymnastics run wild over minimal drums and synths, and the catchy upbeat boogie of ‘VV Violence’, ‘Never Enough’, 'Oh No' and the high point of 'It Means I Love You’ which has a sparse addictive bounce with a pitched up vocal refrain and a nod to Shangaan electro. The trials of dealing with nervousness are also encrypted into the artwork, such as the plants that recur in the sleeve and videos. As Jessy remarked, "I became obsessed with surrounding myself with tropical plants. I've been convinced that the air quality in our house is slowly killing us. It might sound crazy but the plants have made a huge difference." Anxiety and botanical remedies or not, 'Oh No' is a bold second album from Jessy and a marked step forward for her sound.

    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.


      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.


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      Thanks for posting about it. It’s here until next Friday May 3rd btw. https://t.co/PgaFhSvpPe
      Wed 24th - 8:58
      Yes! Thanks @NME for the feature. Come and visit @ianbrown https://t.co/ilKYdZmAtx
      Tue 23rd - 9:48
      It’s great isn’t it?! Glad you liked it and hope your wish comes true.🤞🏻 https://t.co/ZPlM8ry6f5
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      Thank you. Come back soon. https://t.co/wahwb4Pvw2
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