Tuesday 22 January 2013

Network - Pentagon

Pretty much any tune that opens with a sample from the film 'Drive' gets an instant tick in my book and Network have done just that. This certified chart system banger is a free download through their Soundcloud page.

'Pentagon' features a lot of variety, opening with the aforementioned 'Drive' sample we are then met with subtle atmospherics, a perfectly produced bass drum, infections closed hi-hats and a cowbell which would sound very at home on a DFA release. That is until shit gets real at the 1.46 mark. The ear is now met with a bass heavy- Acid House lead melodic pattern, comparatively similar to Boddika's 'Warehouse'. As the song progresses we are met again with the cowbell's from earlier, with the addition an ambient reversed cymbal effect to introduce a new instrument into the mix.

The second bridge features a synth pattern similar to something from Faithless' back catalogue, with what I can only imagine is a Fender Rhodes lingering in the background. Bringing us to the second drop which is, albeit the same as the first, but nevertheless it still packs an apocalyptic sized punch.

All in all, Network have been releasing banger after banger, all for free on their Soundcloud and 'Pentagon' is no exception. Really brilliant stuff.

     -Samuel Hughes

Tuesday 15 January 2013

Dark Sky & Breach - The Click/The Fallout

50 Weapons alumni Dark Sky team up with Breach to release 'The Click' with the B side 'The Fallout' on Breach's own London based label Naked Naked records, forthcoming 11th Febuary.

In a recent interview with Trap magazine Breach stated the importance of melody to his productions, it is subsequently fitting then that his latest release with Dark Sky perfectly exemplifies this. Both the A Side 'The Click' and B Side 'The Fallout' focus on a deep bass line as the main hook; with the former more concentrated on providing a darker vibe than 'The Fallout's' somewhat euphoric and harmonious main melodic pattern.  'The Click's' bass line fits perfectly over the tribal drums and strange noises quintessential to the Breach sound, whilst the ambient sharp synth stabs preceding the second drop showcase the talents that Dark Sky possess.  The subtle variation of this production is what makes it shine, for example, the addition of open hi-hats to the second drop will instantly get your head nodding off its frame...

'The Fallout' is equally as impressive, the chopped up vocal works wonderfully over yet another catchy bass line and the Chicago house drums. Although structurally quite simple, both production teams really demonstrate,again, their love for subtly. After many listens, the ears are met with new beautifully timed atmospheric sounds, swaying from ear to ear and conscience to sub-conscience. 

 So whether you are a music anorak, a producer or a camo wearing teenager with pupils the size of Venus and sweat pouring down you like Jimmy Saville at a nursery open day (too soon?), you will without a doubt be hearing this one soon.

Prepare yourselves...

- Samuel Hughes

Friday 4 January 2013

Boddika & Joy Orbison - Mercy (Boddika's VIP)

There's really not much I can say about this one, utterly speechless.
This drops 2nd Febuary Nonplus records. On repeat for days...



-Samuel Hughes

Sunday 23 December 2012

Pragmatic Theory Presents 'New Classic'

Some alternative Christmas listening for you here, as the long running collective of artists that make up  Pragmatic Theory drop a new release entitled 'New Classic'. This wonderful compilation is free in conjuncture with Rhythm 22.

If you're like me and you can't stand this time of year, then 'New Classic' is certainly an advisable listen. Taking you to a place where it isn't cold and miserable but instead warm and uplifting.  With a total of 36 tracks, 'New Classic' is a perfect testament of what is currently happening in the weird and wonderful world    of instrumental Hip-Hop. 

Notable heavy-hitters such as Lanquid, Weirddough , Handbook and JA:KOVA all provide stunning contributions, also the addition of lesser known individuals like Sev Seveer and DEAD HORSE BEATS- for example- offer some remarkable beats consequential making 'New Classic' a real highlight of 2012. Essentially,  if you're searching for a nice and relaxing listen yet you're also in need to feed your head-nodding addiction (it's a serious disease) then 'New Classic' is perfectly suited to your needs. 

So, therefore why not light the fire, sing a carol, put a plastic hat on your head ,try not to upset all of your family round the dinner table and whack 'New Classic' on. It might not get you into the festive spirit and Grandma might not approve but it if forward-thinking music is your thing, then 'New Classic' may be the best (and cheapest) release you'll receive this Christmas.   

Start the Christmas festivities right here:


-Samuel Hughes

Tuesday 18 December 2012

Redlight- 'Lost In Your Love' (Mickey Pearce remix)

Swamp 81 poster boy Mickey Pearce takes to this Redlight production in typical Pearce fashion, yet delivers something which is arguably more 'club ready' than his previous works.

The hard hitting percussive elements hold a steady position throughout up until the 3.20 mark, when the aforementioned slowly drifts away, providing our ears with a wonderfully timed bridge. Swaying synths and subtle acid bass sounds are the main characteristics here, offering the song an almost surprising break from the quintessential Swamp drum patterns. 

This song is a real grower, one that with every listen provides something new. Props to Pearce in delivering a subtly sublime take on the Redlight original.  




- Samuel Hughes

Wednesday 5 December 2012

Das Racist Are No More

It is with great sadness that one of the most original and genuinely hilarious Hip-Hop acts of recent times have officially broken up.  At a recent show in Munich, Das Racist were scheduled to perform, yet instead it transpired into a Heems solo show, where he subsequently announced  "You guys wanna know the secret? Alright, so I'm going to do some Das Racist songs, but Das Racist is breaking up and we're not a band anymore." 

Watch a video of the announcement here:
Well, this sucks...

Rest In Peace Das Racist
-Samuel Hughes

Monday 19 November 2012

I've Seen Footage: A Death Grips Live Review

-5th November, The Fleece Bristol

In a word? Possessed. For all the redeeming features attributed to Death Grips poster boy MC Ride, it would seem that possessed is the most fitting. Ride walks around the stage like a man mid-exorcism, yet the Devil inside him just does not want to leave, as Lucifer himself seems very comfortable inside this tattoo drenched, sweat soaked body. Accompanied by powerhouse drummer Zach Hill, the duo tear The Fleece a new one as the post-everything pioneers perfectly exemplify why they are considered to be one of the few acts today that are pushing the boundaries of music like nobody else.

Death Grips are essentially a journalistic nightmare, as it seems near impossible to bestow a description of their sound, let alone a genre. It is because of this reason, that they have the ability to draw in such a varied audience. With the age gap ranging from about 16 to 52, one cannot sum up the nature of tonight's audience. In the blink of an eye I can see a group of 20 some-things who'd look more at place at a Student Union Alt-J concert stood next to a group of middle-age men reminiscing about that time they shattered their appendix at a Bad Brains gig. However, this is no surprise as when a group draws on Hip-Hop as well as Hardcore and UK Bass as well as Industrial Rock you are bound to get a crowd as diverse as this one. Albeit the cultural diversity, everyone here is eagerly awaiting the same thing, the phenomena that is Death Grips.

Ride and Hill enter the stage in the most ordinary fashion imaginable, fully clothed and by the looks of it, their sanity still  intact. However, when the lights go down, everything changes as the duo take their shirts off and our ears are consequentially  meet with the earth shattering sub-bass of album three opener 'Come Up And Get Me'. Straight from the word go, the crowd explode into a frenzy of mosh-pits and  commendable attempts at singing(?) along. Accompanied by a backing track, I was at first sceptical about how this would affect the authenticity of their live shows. However, I was proved wrong as it merely adds to the brutality of Ride's voice and Hill's talents on the smallest drum kit that I've ever seen.  Throughout this surprisingly short set, mainly drawing on tracks from 'The Money Store' and 'No Love Deep Web' Death Grips pull out all the stops, from Hill standing up from his kit mid song primarily to pummel the life out of the snare drum with his elbow and fists, to Ride sub-consciously advising the audience that our synapses' may never be the same.

Highlights from the evening come from the likes of the goosebump generating 'The Fever (Aye Aye)', the genre-crossing 'Lil Boy' and the track that made them a household name in alternative music circles, 'Guillotine'. Death Grips constantly flow from one track to the next, with literally no time to breath in-between  whilst I stand there perplexed at how many drum sticks have been snapped, and  how Ride's vocal chords are still intact. With no encore, Death Grips leave the stage as mysterious as they did when they entered and as I walk outside to roll a cigarette and to ultimately try and sum up what I have just witnessed; I see many attendees open mouthed, with their clothes torn and praying that their ears won't be ringing till Christmas.

Death Grips live is certainly an experience and one that I highly recommend. The sheer brutality and belief in what they are doing is hard not to appreciate. Although in hindsight the rawness of this performance could have been enhanced without the addition of a backing track, one can still only admire what Death Grips are doing. Although, what they are actually doing is something that is extremely difficult to sum-up. It would seem that in a post-modern era where the concept of sustaining originality is at its' hardest, Death Grips seem to be doing 'something' that not a lot of others are.

- Samuel Hughes