Hudson Mohawke. Yeah, they're amazing. Butter is one of the best albums of 2009 hands down. Have a remix of Crookers by these very lads. This tune is grimey as fuck.
Thursday, 24 December 2009
Monday, 21 December 2009
Thursday, 17 December 2009
Pre-Pub quiz track of the day #4
I am hosting the first pub quiz in a month. Woo! Whilst the owners are off in London to see Basement Jaxx (lucky bastards) I have had a mini garage revival going on in my head, with Todd Edwards at the forefront.
Todd Edwards is pretty much the innovator of garage, and is known for his incredible vocal edits layered over some fundamentally scene-changing house and garage beats. This is a prime example, just uplifting, classic garage.
Todd Edwards is pretty much the innovator of garage, and is known for his incredible vocal edits layered over some fundamentally scene-changing house and garage beats. This is a prime example, just uplifting, classic garage.
Friday, 11 December 2009
Post pub-quiz track of the day (still technically #3)
As YouTube was on a mission to crash my sluggish, old computer yesterday, unfortuantely I was unable to bring you my track of the day on the usual day. Also, this website hasn't been updated as much as often at the moment, due to the Portcullis Beer Fest. However, I have taken on a friend's notes as to the whereabouts of my appaling grammar and spelling mistakes, and will change them when I can be arsed. For the mean time though, I will leave you with an excellent piece of dirty synth-pop which has been stuck in my head for the last couple of weeks now.
Tuesday, 8 December 2009
KMag Interview - Subeena
Yep, yet another, this time with the lovely Subeena, check the full interview HERE
Instead of hot linking the entire interview onto my blog, just a bit of background for you lot instead.
Bristol had been savagely cold for the past couple of weeks leading up to Thursday 3rd December. So not fun for anyone who is stepping off the train to Temple Meads. It seems that Bristol has inhabited arctic winds recently, blasting any unsuspecting victim with a gale of ferociously cold wind. Subeena and her friend were suffering slightly.
We went to the King Will next to the Old Vic in Bristol City Centre, thankfully to get a warming pint or two. Unfortunately for Subeena, she was on antibiotics, so I was probably just making her jealous. Good way to establish yourself there.
After further embarrassing myself with my primitive interviewing techniques, which mainly involve a notepad and pen, we got chatting. Mainly about pop music. Cheryl Cole is amazing, and I don't care what anyone says.
After leaving to do a few hours work at the Portcullis, I came back into the centre to go to Timbuk 2 for Audio Discharge, where Subeena was playing. What a fucking night! Turns out Kaiser is one to watch, and a shit-hot DJ.
Subeena played an immensely eclectic set, merging several thousand different genres into one hell of a mix. It was a good night, if it hadn't of been for the Timbuk 2 staff, who seemed to have adopted the role of the gestapo for the night, and were absolute wankers to everyone in the club.
Well. That's my story. I promise the article is a lot better.
Instead of hot linking the entire interview onto my blog, just a bit of background for you lot instead.
Bristol had been savagely cold for the past couple of weeks leading up to Thursday 3rd December. So not fun for anyone who is stepping off the train to Temple Meads. It seems that Bristol has inhabited arctic winds recently, blasting any unsuspecting victim with a gale of ferociously cold wind. Subeena and her friend were suffering slightly.
We went to the King Will next to the Old Vic in Bristol City Centre, thankfully to get a warming pint or two. Unfortunately for Subeena, she was on antibiotics, so I was probably just making her jealous. Good way to establish yourself there.
After further embarrassing myself with my primitive interviewing techniques, which mainly involve a notepad and pen, we got chatting. Mainly about pop music. Cheryl Cole is amazing, and I don't care what anyone says.
After leaving to do a few hours work at the Portcullis, I came back into the centre to go to Timbuk 2 for Audio Discharge, where Subeena was playing. What a fucking night! Turns out Kaiser is one to watch, and a shit-hot DJ.
Subeena played an immensely eclectic set, merging several thousand different genres into one hell of a mix. It was a good night, if it hadn't of been for the Timbuk 2 staff, who seemed to have adopted the role of the gestapo for the night, and were absolute wankers to everyone in the club.
Well. That's my story. I promise the article is a lot better.
Thursday, 3 December 2009
Pre-Pub Quiz Track Of The Day # 2
December is here! Hurrah! As my mind turns to jelly through the amount of stress about dwindling finances and work, I make errors which make me seem ever so slightly stupid. So December for me is the month of stupidity. And What better way to introduce December the silly way. This track has been played non-stop in the flat the past couple of days, pretty much non-stop, as me and Ned are always craving some bass-based fun times.
Me and Ned are still baffled by how Udachi got bass to sound this filthy, and by god this is a belter of a party track.
Truly stupid in the face.
Me and Ned are still baffled by how Udachi got bass to sound this filthy, and by god this is a belter of a party track.
Truly stupid in the face.
Wednesday, 2 December 2009
Matt-U Interview, with words from TRG
Underneath is the interview with Matt-U which I was previously talking about, with added words from the stupendous TRG, check the main article HERE with an exclusive track from Matt-U with none other than TRG
Matt-U has been one of Budapest's most prolific and respected producers ever since his first release, 'Got Lost', with production partner Jade, on BSE Recordings in 2004. Matt has released a host of 12"s on labels like BSE, Moving Shadow, 1210, Citrus, Xtinction Agenda, Timeless and Commercial Suicide.
Like so many drum & bass producers he now also makes dubstep and his tracks have been getting attention from DJs such as N-Type, TRG, Luke Envoy, Tes La Rok and many more. Look out for his releases forthcoming on Subway, Boombap, Mata-syn, Dub4Life and N-Type's Wheel & Deal.
What were your earliest influences on your music?
My earliest influence on electronic music was Kemal & Rob Data in 2001 / 2002, when I first started producing d&b. I got introduced to dubstep by TRG. He played me some of his tunes and I loved how he managed to fit different styles into one genre.
That is what I've really liked in dubstep from the beginning: the mixture of elements of different music styles. I knew there would be no turning back.
What has been your best moment as an artist?
As a producer, probably when the Moving Shadow 12" got delivered and I finally held it in my hands. One of the tracks on that 12" was also used in Midnight Club 3 PlayStation game. I have to admit that it is quite fun racing while my tune is playing.
As a DJ every time is special when I have gigs abroad - I love traveling and meeting new people. The first time I played in London was last April in the Coronet. The sound was something I cannot compare to any other sound systems... and an added benefit was managing to meet half of my AIM list – it was a night to remember!
What inspires you whilst writing your music?
Being a producer is only my second life. I work for a marketing strategy consultancy, which basically occupies all of my time during the week so I can only get to the studio in the weekend. But once I'm there I try to make the most of it.
The main thing that inspires me is to keep progressing as a producer. I try not to stick to one particular style, as I always try to challenge my skills by putting elements in the tune I haven't done before in others.
When I start a new tune, I never know what direction I'm willing to follow. I hate it when a label asks me to do a track for them, but then determines the style. When I'm in the studio, I just want to have a good time and enjoy what I'm doing. It's very exciting sometimes to see how the atmosphere of a tune can change even by replacing a kick. Things like this make the whole process kind of a "discovery". You don't know where you're going but you enjoy it – and that's what really matters.
I get a lot of inspiration from the music I listen to throughout the day, but even a good movie might have some effect on my production. It generates a feeling or a "state-of-mind" that can define the outcome of the production in its entirety.
Is there anything that particularly annoys you within the scene at the moment?
As a producer, I spent enough time in the d&b scene to face some problems. Problems mainly occurring from the lack of clear communication between the label and the artist. Some labels keep over promising but under deliver. I think for many label owners, even the biggest labels, releasing music became a routine task, and they kind of lost their interest in it.
They have been doing it for 10+ years and they just don't care for it anymore. I still have a couple of tunes at some labels that I've been "keeping down" for years now, even though they will probably never be out. Things like that can really take away motivation. Being enthusiastic about music should be essential if you're a producer, DJ or even a label owner.
What can we expect from you in the future?
My latest release came out on Wheel & Deal featuring two of my tunes, Jump and Closer. I'm really happy for this release, because I enjoyed working on both tunes a lot, and also it's an honour to enjoy N-type's support.
My next 12" will be Can't Wake Up b/w Whyle The Fuck Out on Boka., coming early December. I also made two collabs with Riskotheque, one of which is coming on Boka, the other one on Sequence.
I will have two EPs at the Netherlands based Triple Vision family: one on Subway and another on S.C.U.M. Records. I'm also going to share a 2x12" on Black Box with DJ Madd, and finally I got Jade working on some dubstep tunes with me, so expect some Jade & Matt-U dubstep releases in the future too!
TRG on Matt-U...
When Did you first meet Matt-U?
I think we got in touch over AIM sometime in 2004-2005 if memory serves me right... Then I took a soul-destroying 16-hour train ride to Budapest to make beats with the man and we hit it off! He's taught me loads of things over the years and I owe him the majority of my production skills.
What do you think sets Matt-U apart from the rest?
Matt has a clinical approach towards production but is not afraid of throwing organic sounds into the mix. The way he blends his love for jungle, hip hop and techno into his dubstep is quite unique. Add to that his outstanding professionalism and his healthy artistic ethos, not many people like him in any scene!
How do you see dubstep as a genre progressing in the near future?
I think there's a bit of a consensus that we're in the post-dubstep era now. It's dubstep, but not as we know it! If it keeps sounding like what I hear in the top ten charts it will probably become less spectacular than what we all loved about it in the first place.
Matt-U has been one of Budapest's most prolific and respected producers ever since his first release, 'Got Lost', with production partner Jade, on BSE Recordings in 2004. Matt has released a host of 12"s on labels like BSE, Moving Shadow, 1210, Citrus, Xtinction Agenda, Timeless and Commercial Suicide.
Like so many drum & bass producers he now also makes dubstep and his tracks have been getting attention from DJs such as N-Type, TRG, Luke Envoy, Tes La Rok and many more. Look out for his releases forthcoming on Subway, Boombap, Mata-syn, Dub4Life and N-Type's Wheel & Deal.
What were your earliest influences on your music?
My earliest influence on electronic music was Kemal & Rob Data in 2001 / 2002, when I first started producing d&b. I got introduced to dubstep by TRG. He played me some of his tunes and I loved how he managed to fit different styles into one genre.
That is what I've really liked in dubstep from the beginning: the mixture of elements of different music styles. I knew there would be no turning back.
What has been your best moment as an artist?
As a producer, probably when the Moving Shadow 12" got delivered and I finally held it in my hands. One of the tracks on that 12" was also used in Midnight Club 3 PlayStation game. I have to admit that it is quite fun racing while my tune is playing.
As a DJ every time is special when I have gigs abroad - I love traveling and meeting new people. The first time I played in London was last April in the Coronet. The sound was something I cannot compare to any other sound systems... and an added benefit was managing to meet half of my AIM list – it was a night to remember!
What inspires you whilst writing your music?
Being a producer is only my second life. I work for a marketing strategy consultancy, which basically occupies all of my time during the week so I can only get to the studio in the weekend. But once I'm there I try to make the most of it.
The main thing that inspires me is to keep progressing as a producer. I try not to stick to one particular style, as I always try to challenge my skills by putting elements in the tune I haven't done before in others.
When I start a new tune, I never know what direction I'm willing to follow. I hate it when a label asks me to do a track for them, but then determines the style. When I'm in the studio, I just want to have a good time and enjoy what I'm doing. It's very exciting sometimes to see how the atmosphere of a tune can change even by replacing a kick. Things like this make the whole process kind of a "discovery". You don't know where you're going but you enjoy it – and that's what really matters.
I get a lot of inspiration from the music I listen to throughout the day, but even a good movie might have some effect on my production. It generates a feeling or a "state-of-mind" that can define the outcome of the production in its entirety.
Is there anything that particularly annoys you within the scene at the moment?
As a producer, I spent enough time in the d&b scene to face some problems. Problems mainly occurring from the lack of clear communication between the label and the artist. Some labels keep over promising but under deliver. I think for many label owners, even the biggest labels, releasing music became a routine task, and they kind of lost their interest in it.
They have been doing it for 10+ years and they just don't care for it anymore. I still have a couple of tunes at some labels that I've been "keeping down" for years now, even though they will probably never be out. Things like that can really take away motivation. Being enthusiastic about music should be essential if you're a producer, DJ or even a label owner.
What can we expect from you in the future?
My latest release came out on Wheel & Deal featuring two of my tunes, Jump and Closer. I'm really happy for this release, because I enjoyed working on both tunes a lot, and also it's an honour to enjoy N-type's support.
My next 12" will be Can't Wake Up b/w Whyle The Fuck Out on Boka., coming early December. I also made two collabs with Riskotheque, one of which is coming on Boka, the other one on Sequence.
I will have two EPs at the Netherlands based Triple Vision family: one on Subway and another on S.C.U.M. Records. I'm also going to share a 2x12" on Black Box with DJ Madd, and finally I got Jade working on some dubstep tunes with me, so expect some Jade & Matt-U dubstep releases in the future too!
TRG on Matt-U...
When Did you first meet Matt-U?
I think we got in touch over AIM sometime in 2004-2005 if memory serves me right... Then I took a soul-destroying 16-hour train ride to Budapest to make beats with the man and we hit it off! He's taught me loads of things over the years and I owe him the majority of my production skills.
What do you think sets Matt-U apart from the rest?
Matt has a clinical approach towards production but is not afraid of throwing organic sounds into the mix. The way he blends his love for jungle, hip hop and techno into his dubstep is quite unique. Add to that his outstanding professionalism and his healthy artistic ethos, not many people like him in any scene!
How do you see dubstep as a genre progressing in the near future?
I think there's a bit of a consensus that we're in the post-dubstep era now. It's dubstep, but not as we know it! If it keeps sounding like what I hear in the top ten charts it will probably become less spectacular than what we all loved about it in the first place.
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