trap magazine 005

#005 TC S-X BOILER ROOM ADDISON GROOVE DJ EZ SPZERO76 FREEAUGUST | SEPTEMBER 2011WWW.TRAPMAGAZINE.CO.UK

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EVERY BASS COVEREDMUSIC | FASHION | ART

BRAVE NEW WORLD

#005 AUGUST / SEPTEMBER 2011

REGULARS.

HYPE THINGSWORTH GETTING EXCITED ABOUT

MONKI SEE, MONKI DO

TRAP FASHION

TRAP X THE DAILY STREET

BOSS SELECTIONS DJ’S TOP TENS PLUS IN-DEPTH CHARTS

FASHION SKATE CITY

MUSIC REVIEWS

BASSPOINTS THE HOTTEST EVENTS ON PLANET BASS

FEATURES.

SHOWTIME

TC

BOILER ROOM

NERO

SPZERO76

EZ

ADDISON GROOVE

S-X

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#005 FACEBOOK: Search ‘Trap Magazine’TWITTER:@trapmagazineEMAIL: [email protected]

FRONT COVER: Nero by Laura Lewis.WORDS: Jon Cook, Oli Marlow, Kasha Malyckyj, Sam Bates, Belinda Rowse, Sam Collenette, Jeryl Wilton, Amy StiA,bassmusicblog.com, Sophie Thomas, Sean Kelly, Jon Carter, Tim Rayner, Adam Scotland, Dave Cotgrave, Curtis Moldrichand Lungile Mhlanga.PICTURES: Laura Lewis, Zachery Saitoti, Sim Higginson, ASHES57, Sam Neill, Sebastian Matthes, Tom Bunning, Jacob Bours,Josh MG, Shifteye.

EDITOR: Jon CookCREATIVE DIRECTOR/DESIGN: Andy HayesFASHION EDITOR: Kasha MalyckyjSALES & ADVERTISING: Iain BlackburnMARKETING & DISTRIBUTION: Justin IriajenSOCIAL NETWORKING: Amy StiAWEB:

THANKS: Leo@ Darling, Adam@ Backdrop, Ben@ Run, Carly @ Don’t Panic, Baz @FOO, Rob, Tom & Ollie @ The Blast;Johnny & Jack@Outlook; Danna@ Takkako, Scot @ Fabric, Lee & Courtney @Muzik Hertz, Sophie @MTA, Tim@CampusSkate, Steve@ Cooshti, Lisa & Suz, Louis, Rich & Sid @50/50, Cheba & Sam@WOC, James@American Apparel,Jerry@Lazy Oaf.

TRAP MAGAZINE, Unit 14, The Coach House, Upper York Street, Bristol BS2 8QN.

WWW.TRAPMAGAZINE.CO.UK

PIRACY IS A PARAfter spending a couple of years

working on his second album, Toddla Tgot par’d hard last month when aGerman journo leaked a promo copy ofhis new LP online, forcing the releasedate forward. Luckily for Toddla, thealbum is sick so damage shouldbe minimal.

UK BASS CULTUREYouTube bass-music phenomenon

UKF are linking up with the guysbehind SW4 for an unprecedentedbass-culture celebration at AlexandraPalace on 25 November. With anexpected sell-out capacity close to10,000, this is set to be the biggestevent ever of its kind.

ADIDAS ORIGINALSOne for all the sneaker-heads out

there, AdidasOriginals iPhone app isnow available in the app store. Using 3Dimaging, the app lets you take a pictureof your desired kick before thenrecommending amatching styleand locating the nearest store you’ll>nd them.

RINSE TURNS 17Bastion of bass culture RinseFM

turns 17 in September, and tocelebrate are once again linking withFWD>> to throw their biggest everdance at the massive Brixton Academy.After a year that’s seen the London-based radio station turn legal, the guysat Rinse have plenty celebrate...

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WW

W.T

RA

PM

AG

AZI

NE

.CO

.UK

DETONATE ALL DAYER WIN TICKETS!

THINGS WORTH GETTING

EXCITED ABOUT...

hype

On Sunday 9 October, Nottingham’s Detonate will be taking over all three rooms of Rock City for an all-day rave thatpromises to kick o= the student year in style. At the time of going to press, the line-up is still very hush-hush, but with Trapcover stars Nero and dubstep superstar Skream headlining, you know this is going to be one massive party. Taking placefrom 3pm to 3am, we’d recommend keeping an eye on the Detonate website for more details. Trap has a pair of tickets togive away, for the chance to win just email [email protected] with your date of birth and postcode -a winner will be selected at random.

WWW.DETONATE1.CO.UK

TRAPXOUTLOOKWe’re extremely proud to announce that we will be

producing a special edition of Trap exclusively for thisSeptember’s Outlook festival in Croatia. When you buy theo?cial lanyard and line-up, you’ll also receive a 64-pagemagazine programme produced with all the same love andattention that goes into every issue of Trap. Packed withessential info, arena guides and artist interviews andfeatures, if you’re one of the lucky 10,000 headed out toCroatia this year; make sure you grab your copy!

COMPLETED PROJECTAfter Bve amazing years, 2011 will

see Manchester’s Warehouse Projectclose the doors for the last time on theStore Street venue that has become itshome. After another stunning seasonof events, NYE will see a 17-hour partyto bring the curtain down on anamazing era for raving up North.

RUNNING TINGZFew genres combine better than

D&B and reggae, a fact not lost on theRun Tingz collective who unleashtheir self-titled label’s sixth releasethis month. Featuring Serial Killaz,Tenor Fly and Blackout JA, the RunTingz crew are living up to their name.WWW.RUNTINGZRECORDINGS.CO.UK

RAT CITYLondon's premier skate shopSlam

City Skates is celebrating 25 yearsof providing the capital with thefreshest garms and footwear with abrand new website. Also, watch outfor a Blm called ‘City Of Rats’, whichwill be out this autumn.WWW.SLAMCITY.COM

ZOLTARFollowing a string of heavyweight

releases, Need For Mirrors have startedtheir own label, Zoltar. The label will actprimarily as a vehicle for their ownoutput, with a strong visual conceptrunning through each release. The Brstinstallment, ‘Alabama’ / ‘Erotic Relapse’,is out now.

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hype

It’s that time of year again, you havepermission to blow a whistle or horn all dayand spend far too much money on chicken;Notting Hill Carnival is just around the corner.

Red Bull Music Academy are back for thefourth year running on Monday 29 August,teaming up with Diplo & Switch’s Major Lazeronce again to invite the likes of DillonFrancis, Oneman b2b Jackmaster and manymore to smash up the space beneath theWestway. Tickets are available exclusivelyfrom 10 August from the Red Bull website.

Meanwhile, Deadly Rhythm return for theirannual carnival after-party on Sunday 28August, keeping true to the soundsystemculture at the heart of carnival to bringRodigan, Dillinja, Trojan Soundsystem andThe Heatwave indoors for a veryspecial-looking dance at Brixton’s Plan B.

WWW.BLACK-ATLANTIC.COMWWW.REDBULLMUSICACADEMY.COM/CARNIVAL

NOTTING HILLCARNIVAL

By the time most of you are readingthis, one of the most depressing streetsin Bristol will have been transformed intothe largest permanent street art exhibitionin Europe. Over three days, beginning 19August, dozens of the planet’s mostrespected street artists will adorn thewalls of Nelson Street in the city centrewith some of the largest individualartworks on the planet. And amazingly,after the weekend’s activities are over(which includes three wicked lookingafter-parties), it’s all staying put. Thebrainchild of legendary graCti artist Inkie,this will no doubt provide a city with anincredible contribution to the art form thedeserved status as one of the street artcapitals of the world.

SEE NO EVIL /HEAR NO EVIL

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TRAP SHITS THE BED

Anyone who goes raving in Bristol will know allabout Shit The Bed. Taking place ?ve times a yearat Motion, STB is the biggest event of its kind inthe South West and brings together all the varyingforms of bass-music that we at Trap love. And fromOctober onwards, kicking o> with the STB takingplace as part of In:Motion, Trap will be hosting ourvery own room at the West Country mega-rave...Keep your eyes on the STB facebook page fordetails of the HUGE line-up.

WWW.FACEBOOK.COM/THEBLASTAKASHITTHEBED

hypeIN:MOTIONLAUNCHES

In 2010, a former skatepark tucked awaybehind Bristol’s Temple Meads train stationannounced itself as a major force inunderground music with the launch of thedebut In:Motion series. Bringing many of theworld’s biggest and most respected DJs,acts and club brands to the hugewarehouses and compact rooms of Motion,the season attracted visitors from far andwide and gave Bristol’s notoriouslyparty-friendly residents another couple ofreasons to get messy every weekend.

Marking the completion of the venue’stransition from a skatepark that occasionallyhosted raves, to a fully functioning, amazingsounding and completely unique nightclub,2010’s season marked Motion as one of theUK’s best venues, while settingexpectations high for 2011...

30 September will see the launch of thisyear’s season, and over the following threemonths the likes of Rinse vs FWD>>,Cocoon, Hospitality, Bugged Out, Bloc,Annie Mac Presents and manymorepromise to pack out every night of everyweekend. At the time of going to press,most of the line-ups were yet to beannounced, but the Hessle Audio party on15 October, featuring Jamie XX, JamieWoon and the full HA crew, and theenormous Shit The Bed the night beforewith Caspa, Redlight, Ms Dynamite andmore (see below) are indications of what toexpect in the space of just one weekend!

WWW.BRISTOLINMOTION.COM

MELE‘Starlight Express’MixpackHuge track forthcoming aspart of an EP on Mixpack.This was made while Melewas sitting on his bed. I hatethat he can do that.

I LOVE . . .

KOOL KIDS CLUBKool Kids Klub has a great party

vibe and is, to my knowledge, theonly night that’s playing this sort ofmusic in Southend. It’s had DJs likeJackmaster, Toddla T, Oneman, LilSilva, French Fries, Mele and loadsmore. Held in the upstairs of a bar,it’s dark and dingy and a bit ofsweat box, but that’s one of thereasons why it’s great. Plus, theyhave cool t-shirts.

ZULUThis guy landed in

my inbox a few monthsback and I’ve beensupporting tracks like‘Kwaito’ and ‘Bulawayo’on Rinse and in theraves ever since.Raf Daddy (Half of TheTwo Bears) waslistening in oneThursday and prettysoon after, I heard Zuluwill be releasing onToddla T’s label, GirlsMusic. Big up!

ONE TO WATCH

BUNGA BUNGABunga Bunga is a night

in the Steel City; SheBeld.I’ve only managed to makeit up there once, but it wasa vibe! Run by the badmanhimself, Big Dutty Nathan…ha ha! I really like the mix ofpeople the night bringsand the way it heavilysupports local talent - likeChecan and Squarehead,two young producers I liketo play on radio. If you’reabout town, I suggest yougo see wagwaan.

NOTTING HILLCARNIVALThere’s only one party

to check on the weekend

of 26 August – Notting

Hill Carnival. Catch

heads like Urban Nerds,

Girls Music and Major

Lazer all throwing parties

that weekend. I’ll be

down at Eastern

Electrics on the Sunday,

playing alongside Dark

Sky, TWilliams, Jesse

Rose and more...

BESTIVALAlso September is

the month of one the

last, but best (pun

intended), festivals of

the year, Bestival.

Catch me playing

alongside the other

Rinse heads taking

over a stage on the

Saturday… let’s all

pray it doesn’t rain.

RinseFM’s Monki is one of the most on-point DJs around right now. Hostingher own weekly show on the now-legal radio station and regularly playing at thesickest raves in town, we’re proud to invite Monki into the pages of Trap. Read onfor the Arst of a regular column from the 19-year-old South Londoner, sharingeverything she’s rating in the coming month…

WWW.THISISNERO.COM

W E L C O M E R E A L I T YTHE DEBUT ALBUM OUT 15TH AUGUST

INCLUDES INNOCENCE, ME & YOU, GUILT & PROMISES

On 30 September, London nightclub Hidden will be given afresh lease of life with the launch of FOUND. Over a period of 12weeks, the South-London venue will play host to some of the=nest bass-centric line-ups anywhere in the capital, inviting anerudite selection of artists, labels and events to breathe new lifeinto its three rooms and o<er another alternative to thewell-trodden East London circuit.

While these sorts of ‘seasons’ or ‘series’ of events have becomeincreasingly popular over recent years, FOUND o<ers acompletely di<erent take on the concept. With the venue’s

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capacity split between three rooms, rather than having to focus

on =lling a massive main arena, FOUND can reach deep into the

underground for the programming of its events.

Justin Martin opens the series on 30 September, and from here

the quality never drops, as the likes of Eglo Records, Butterz,

Quarantine and Black Butter join impeccably curated in-house

events Trix and Momentum on the 12-week roster. We’ve seen

most of the line-ups all the way through to Christmas and every

single one is sick.

You can win a Season Pass to FOUND,giving you free guest-list entry to all 12Friday events in the series. For yourchance to win, just email your name,date of birth and post code [email protected] winner will be selected at randomand the competition closes on 23September 2011. All entrants must be18+ and provide valid ID for entry.

One winner will receive a FOUNDseason ticket entitling them to free,guest list entry to all 12 events in theFriday series. All entrants must be 18+and provide valid iD for entry.

WIN ASEASONPASS TO

FOUNDNEW UK BASS SERIES LAUNCHESAT LONDON’S HIDDEN.

hype

WWW.FOUNDSERIES.CO.UK

Heads up ladies, we know thatanything past September is the lastthing on your mind, but it really is timeto start thinking about your autumnwardrobe.

We love e*ortlessly cool Australianlabel Mink Pink, and even more soafter seeing their A/W 11 collection.Sticking with a ,awless formula ofvintage-inspired designs and nods tocurrent trends, this collection is a +nemix of rich autumnal colours, luxefabrics and cosy knitwear. Key piecesfrom the range include these skinny+t leopard print jeans and sheerchain-print shirt.

WWW.ASOS.COM

MINK PINK

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WORDS: KASHAMALYCKYJ

Guts and Glory is a small UK-based labelwith big ideas… Starting out on canvasesand customising clothes for friends, thebrand present an eight-piece collection ofillustrated t-shirts. Quirky graphics in black,white and red stand out on a crisp whitebackground, and capture the label’s senseof humour perfectly.

WWW.ROKTIC.COM

BRAND TOWATCH

GUTS AND GLORY

Ultra-cool shoe designerJe.rey Campbell hasbranched out and created aspin-o. bag label called ‘GirlsWe Hated In High School’.We’re in love with thiscollection, which combinescolour pop brights andrainbow Navajo prints withsuede fringing and tassles.

WWW.JEFFREYCAMPBELLSHOES.COM

GIRLS WEHATEDIN HIGHSCHOOL

ACTUAL PAINGo grab yourself a piece of the latest o.eringfrom US brand Actual Pain. Aptly named 'AllThemWitches', the collection consists of a

fresh batch of tees and hatscovered in the classic dark

imagery the brand isknown for. Available in

the UK now, we’refeeling the 'Coven' and

'Script logo' styles.

WWW.ACTUALPAIN.ORG

Record label SWAMP81 joins force with streetwearemporium Donuts for a series of tee-shirt collaborations thatwe can’t wait to own. Referencing the model numbers ofclassic 1980s synths and drum machines, these super-limitedtees are the 4rst in a series of collabs that everyone frombeard-strokers to hipsters will be 4ghting for. Keep an eye outfor the 4nished tees, coming in both white and black.

WWW.DONUTSTHESTORE.CO.UK

SWAMP81 X DONUTS

'High Quality Contraband' is a new collection by San Francisco labelFreedminds. The brand design around the themes of "community,rebellion and success through struggle" and have produced a superiorselection of t-shirts, loose 4tting vests and sweatshirts. We love thelaidback luxe vibe, as captured in their look-book, shot on location in LAand featuring members of the hip-hop collective Odd Future.You'll 4nd the full range on the Freedminds online store.

WWW.THEFREEDMINDS.COM

FREEDMINDS

For more, go to www.thedailystreet.co.uk

‘Sunpocket Original,e Sunpocket II is an a-ordable andcompact alternative to high-end eyewear andsignals an end to shades stored on T-shirtnecks. Coming in a range of colours, thesunglasses are 100% UV protective and thefoldable frame makes the Sunpocket II apractical option for brighter days.

www.urbanoutfitters.co.uk

In the first of a regular series of features with the guys at online streetwear bible (e Daily Street, Trap showcases threeof the best summer accessories to take you through the tail-end of the season and beyond...

‘INDCSN 5-Panel CapWhile .tteds are old news and the streets are full of luridsnapback caps, UK brand Indcsn have things just right withtheir 5-panel caps. ,ese chino twill o-erings keep thingssimple and come in a selection of colours, all featuring asimple logo tab on the front, with adjustable fasteningon the reverse.

www.indcsn.com

‘Herschel Survey BackpackYou’re always going to need somewhere to keep youraccessories, and the Survey pack from Herschel Supply Corepresents the perfect blend of heritage style and modernfunctionality. Complete with a red and white stripedinterior, the Survey Backpack is a clean and rugged piece ofkit that’s built to last.

www.urbanindustry.co.uk

Words: Adam Scotland

The biggest DJs in the game sharethe secrets of their selection...

‘DBRIDGE EXIT RECORDSGOING IN DEEP

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YARDBROUGH & PEOPLES ‘Don't Stop The Music’I adore this track; I often <nish my sets with it. It's a statement of my intent to wantto keep going. I also love how young people have no idea what it is and constantlyask me who it’s by. I'm basically showing my age when I play this.

SATIN STORM ‘Satin Storm’This is a classic bit of old-skool. I never really heard it being played out back in theday, but it was always played on pirate radio and was always on a mixtape in mywalkman. Reminds me of Rush FM.

FIVE STAR ‘Can't Wait Another Minute’The UK's answer to Jackson Five!? Poptastic! As cheesy as they may seem,I used to really like them. I think they knew how to write a strong hook and as I'vegotten older I've appreciated themmore.

SCRITTI POLITTI ‘Boom! There SheWas’A friend of mine got me into this group - I loved the ‘Cupid and Psyche’ album,then they released ‘Provision’ in 1988. I had this album on heavy rotation. I thinkhe still has one the most distinctive voices in UK pop, and I'm heavily in=uencedby his chord progressions and melodies.

LOOSE ENDS ‘Don't Be A Fool’One of the UK's most successful R&B acts. It's hard to pick a favourite song bythese guys, they wrote so many; 'Hanging On A String', 'Look How Long'; but Ipicked this one because I love the use of the break. I love the fact that they kepthold of their British identity whilst being a part of a very American scene.Alongside Omar and Mica Paris, they were singers I look up to for what they didfor UK soul music.

APOLLONIA 6 ‘Sex Shooter’Prince producing at his sleazy best. I recently rediscovered this; it's got everything Ilove about a Prince tune - sultry lyrics, Linn drums and a great hook. The video isgreat too; scantily clad women with big hair. Electric Blue Beat. I've added this to myhit list of songs to look out for when I go crate digging. The fact you can't buy it oniTunes adds even more appeal to me.

FUTURE FORCES ‘Strontium Jazz’ (Dillinja Rmx)I remember how excited I was when we heard that Dillinja had agreed to do the remix.I'm a huge fan and was still forging my career in D&B, so it felt we'd reached a certainstep having someone like him remix our tune. When it arrived we were both blownaway, I think it's the <rst example of him using that style break, which he then wenton to utilise in his great tracks on Test and the ‘Cybotron’ album. This track stillcauses trouble on the dance=oor. Also if mymemory serves me, the original nevercame out...

ED RUSH & OPTICAL ‘Mystery Machine’D&B techno funk! This is how to rock a groove, something that a lot of people haveforgotten how to do. Clever edits, bleeps and whistles are all well and good, but canyou roll? This is on my wish-I’d-made-it list, along with Krust’s ‘FuturesUnknown’.

MATRIX ‘Mute 98’For me, Matrix was one of the best electronic soul musicians around, one of theoriginal exponents of pairing light and dark elements - aggressively beautiful.His album ‘Sleepwalk’ was a landmark release and one I think future generations willlook back on and revere. He, alongside Photek, was able to produce songs you couldboth play out and at home, something I still strive for and another lost art in D&B.

PRINCEPick a song, it doesn't matter, he's a G. That is all!!

DOCTOR P. CIRCUS

1. DOCTOR P ‘Tetris’2. FLUX PAVILION ‘Bass Cannon’3. ROKSONIX ‘Music In Me’4. COOKIE MONSTA ‘Bubble Trouble’5. FUNTCASE ‘50 Caliber’6. EPTIC ‘Fools’7. SKRILLEX ‘Cinema Rmx’8. NERO ‘Crush On You’9.SERIAL KILLAZ ‘Fresh Style’10. SLUMDOGZ ‘Bad Ass’ Rmx

ENEI. CRITICAL

1. ENEI ‘Machines’2. CULTURE SHOCK ‘Protection’3. L 33 ‘Step Ahead’4. S.P.Y & KASRA ‘Surface’ VIP5. EMPEROR ‘Vapour’6. ENEI FT. RIYA ‘No Fear’ (Spectrasoul Rmx)7. XTRAH ‘Contortion’8. DUB PHIZIX ‘Break It’9. LONDON ELECTRICITY ‘U Gotta B Crazy’ (Enei Rmx)10. BREAK & DIE ‘Slow Down’ VIP

RACKNRUIN. BLACK BUTTER

1.RACKNRUIN FT SEROCEE, NAVIGATOR& ILLAMAN ‘Righteous’2. HOSTAGE ‘Energise’3. ALPINES ‘Cocoon’ (RackNRuin Rmx)4. ROSKA ‘Blame The Speakers’5.MORCEE ‘Bad Boy Style’6.RACKNRUINFTNAVIGATOR&SLARTAJOHN ‘Territory’ (WozRemix)7. FOAMO ‘Vibrations’8. BAXTA ‘Work It’9. LOADSTAR ‘Berlin’10. RACKNRUIN FT ADIYAM & LADY CHANN ‘Darkness’

ROYAL-T. BUTTERZ

1. TERROR DANJAH FT RUBY LEE RYDER ‘Full Attention’2. SWINDLE ‘Pineapple’3. PMONEY & BLACKS ‘Boo You’4.WILEY ‘It's Wiley’ (Royal-T Rmx)5. THE STREETS ‘Same Old Thing’ (Outlaw Breaks Rmx)6. ROYAL-T ‘Don't Call Me Baby’7. TRIM ‘I Am’8. DOK ‘Sidedok’9. P JAM ‘Arizona Skyz’10. ROYAL-T ‘Orangeade VIP’

TOMB CREW. BLACK BUTTER

1.OMBCREWFTRUBI DAN, JUXCI D& ILLAMAN ‘Watch This’2.WOZ ‘Seen’3. JOHN ROMAN ‘Sala’4.WARRIOR ONE FT ROYSTONWILLIAMS ‘Wavey’5. DRUMSOF DEATH ‘I Can't Take It’6. AC SLATER & XAPHOON ‘Believe Me’7. HOSTAGE ‘Energise’8. THE LIVING GRAHAM BOND ‘Buckshot’9.MISTAMEN ‘Double Dip’10. KID CHAMELEON ‘Searchlight’

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KUTZ ‘Void’Dark as fuck! This half-step roller changes in to apounding 8bar-type skank; it reminds me of ‘PulseX’, but with some next level production quality.

DISMANTLE ‘Detonate’In the same vain as ‘Word Dance’ (out on Wheel &Deal), this track brings dubstep, funky andcrackhouse together.

HIZZLEGUY ‘Drunk Dub’ (Dismantle Rmx)Hizz-hop in the grinder; another big tune from atalented new artist from Brighton. Forthcoming onHatcha’s Sin City .

SURGE ‘Swaying Mantis’I smash this at nearly every rave I play; dubplatespecial style. There’s a real cinematic darkness toit, and some seriously sick percussion.Will be out soon on Wheel & Deal.

KRAFTY KUTZ ‘Pounding’ Ft Dynamite MC(N-Type Rmx)I just >nished this full-vocal dubstep remix. It’sbeen getting a great reception in the clubs and theoriginal is sure to smash it.

‘NTYPEWHEEL & DEAL

IN DETAIL

PHAELEH. AFTERGLO

1. PISTONSBENEATH ‘Resonate’2. DJMADD ‘Pitfall’ (Phaeleh Rmx)3. SYNKRO ‘Tribe’4. KILLAWATT ‘Wobbly Forest’5. DIZZ1 ‘Gone Soon’6. KILLAWATT ‘Binary’7. LAS ‘Power Surge’8. KILLAWATT ‘I Need You’9.BIOME ‘Space’10. PHAELEH ‘In The Twilight’

DISMANTLE ‘Computation’One of the biggest tunes around at the minute!Another track that will be dropping on Wheel &Deal in September.

DREAM ‘Last Time’Dream steps up with a Dr P-style, high-pitch bassroll out! A new artist who is sure to make a stir inthe scene if he carries on making club smasherslike this.

SOAP DODGERS ‘Water Landing’A big, dark half-step roller from Soap Dodgers,being battered by myself and Youngsta and linedup for release on Tempa! Watch out for these guys;they’re sick!

TAIKI & NULIGHT ‘Grotesque’Forthcoming on Biscuit Factory... the bassline onthis biscuit is a dirty wrongon! Love that!

BENTON ‘Smash that Badger’ VIPI’ve had this on dub for a while, and it destroysdances! It’s soon to have a vocal mix, so keep anear and an eye out.

Back in June, some of the most important voices in the history of undergroundBritish music gathered at London’s Cargo for a show unlike any other before.For that one night, a cross generational, all-star line-up of the voices that helpedshape the British underground - from dancehall to jungle, reggae to grime - couldall be found on one stage paying homage to the soundsystem culture that laid thefoundations for the bass-centric musical genres that we at Trap adore.

From legendary voices of jungle and ragga such as General Levy and Glamma Kid,to drum & bass and grime icons Skibadee, Riko and Wiley, to modern-day UKdancehall dons Lady Chan, Mr Williamz and Stylo G; all were in attendance to toastthe mic over a backbeat of classic dancehall and bashment provided byShowtime masterminds The Heatwave.

For those that couldn’t make it down, here we present a selection of photographsof some of the biggest artists performing at what was a truly legendary occasion.Watch out for the DVD of the show available soon from www.theheatwave.co.uk

SHOWTIME.

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PHOTOS:JoshMG

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NOTPLAYINGAROUND’TCPHOTO:Zoom

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JUST A FEW YEARS AGO, TCWAS ONE OF DRUM& BASS’S BIGGEST NAMES. WITH A DISTINCTLYDANCEFLOOR ORIENTATED SOUND AND THE THENUNPRECEDENTED HABIT OF TAKING TO THEMICAND SINGING OVER HIS TRACKS, TCWAS ABREATH OF FRESH AIR IN A DRUM & BASS SCENETHATWAS STILL LEARNING NOT TO TAKE ITSELFTOO SERIOUSLY. HOWEVER, AFTER COUNTLESSSMASH SINGLES AND AN ANTHEM-PACKED DEBUTALBUM IN 2007, THE BRISTOL-BORN PRODUCERSEEMED TO STEP BACK FROM THE SPOTLIGHT,PREFERRING TO PLY HIS TRADE REMIXINGMAJORARTISTS AND KEEPING VERYMUCHOUT OF THEOFTEN POLITICAL GAMES OF THE ESTABLISHEDDRUM & BASS CIRCUIT.

Now, TC is well and truly back, with a fresh focus andnew record label all of his own. Called Don’t Play, thelabel’s @rst release – the Dread MC featuring ‘Concrete’and ‘Burning Starlight’ – has thrown the eyes of theunderground, and Radio One’s tastemaker DJs, backon to TC. With Don’t Play’s second release set to dropin September, and a massive remix competitionunderway on TC’s facebook page, Trap tracked himdown to his awe-inspiring studio to @nd outmore aboutthe label andwhat exactly he’s been up to...

EZ TC! WE’VE NOT HEARD FROM YOU FOR AWHILE... WHERE’VE YOU BEEN?

“Yeah, the last thing I put out was my album and thesingles from that; it’s been three years! I’ve been busythough. I’ve done quite a few remixes; Rihanna ‘RudeBoy’, Tinie Tempah ‘Frisky’, Damian Marley & Nas ‘As WeEnter’, which have all been great projects to work on.And I’ve just remixed Cee Lo Green’s new single, so I’vebeen making music the whole time. I’ve got a lot oftunes now... it’s all ammunition for the new label.”

YOUR NEW LABEL... IT’S CALLED DON’T PLAY.WHAT’S BEHIND THE NAME?

“I guess it’s reverse psychology; ‘Don’t play this record!’Tell people not to do something and they will want to doit... But really, it’s because I’m not playing aroundanymore; I don’t want to do things by halves. I think I’mat a stage now where I can choose my own path, andI’ve been around long enough to know howthings work.”

THE FIRST SINGLE ON DON’T PLAY - ‘CONCRETE’AND ‘BURNING STARLIGHT’ - HAS JUST BEENRELEASED AND FEATURES DREADMCON BOTHTRACKS. SHOULDWE EXPECTMORE TRACKSFROM YOU TWO?

“Dread’s great, but I don’t think so; he’s working veryheavily with Redlight now. I guess it was just a happyaccident that we found ourselves in the studio. ‘BurningStarlight’ is a D&B track, but ‘Concrete’ is dubstep. I wasgoing through a time when I was really enjoying making140bpm stu?, Dread was round and jumped on thetrack and freestyled over it. I just recorded it and editedit to make the tune. I’ve been really pleased with the factthat the pioneers like Hatcha, NType, Benga, Skream allplaying it out in the raves; it gives it a bit of credibility inmy eyes.”

HOWDO YOU FEEL ABOUT DUBSTEP AS AWHOLEAT THEMOMENT? IS IT STILL CAPTURINGYOUR INTEREST?

“I think it’s being arse-raped by Radio One right nowand a lot of the people that used to make it are doingsomething else. I went through a stage of playing halfan hour of dubstep in a two-hour set, but now there’s alot of other exciting music around. There is a lot ofdubstep I love though – I’ve just helped Joker outmixing some vocals for his new album, and that isincredible. We’re mates, but we connect on aproduction level, we’re always @nding new things toshare in the studio; he’s a sparring partner. He’sde@nitely inAuenced me and mymusic.”

“The big thing for me right now is half-time D&B, or‘drumstep’. I could play a whole set of it; the Cee LoGreen remix I’ve just done is a drumstep track, and‘Burning Starlight’ has that half-time beat. I’m reallyfeeling that vibe, not many people are on it yet. It’s got ahip-hop vibe; it’s a head-nod thing...”

SO, WHAT’S THEMUSICAL AGENDA FOR DON’TPLAY? ARE YOU PLANNING TOMIX UPTHE GENRES?

“I’d like to get remixes in other genres, but the label isgonna be D&B and 140. The next single ‘Tap Ho’ is astraight-up drum & bass track. I’m not gonna jump onany bandwagons, I think mostly I’m gonna stick to theD&B aspect. I play other types of music in my DJ setsbut I never feel comfortable until I get back to the drumand bass and I know I can drop three tunes together orwhatever. I know it, inside and out.”

D&B IS STILL THE ONE FOR YOU?

“Yeah I love it. It’s changing a lot though, but I like that.There’s some amazing music out there right now and Ithink the new guys are having so much more inAuenceon what is going on; Netsky is someone who couldbreak a tune now. And Camo & Krooked too, I rate themso much. They’ve got an amazing work ethic and I thinktheir tunes are sick; I’ve just done vocals for a couple oftracks o? their album.

“Also, I think dubstep has been a blessing for D&B.Dubstep has taken away all the people that weremaking half-hearted drum & bass; now every kid thatwants to start making music is making dubstep notD&B, and D&B has been left clear for the guys who hadheart and stuck with it. It’s beautiful that so much less iscoming out; it’s given us a breath of fresh air.

SO YOU’RE FEELING PRETTY GOOD ABOUT LIFEBACK AT THE FORE OF THE UNDERGROUND DRUM& BASS SCENE AGAIN?

“Yeah, de@nitely. Artistically I feel I have a lot offreedom. My own label is underway; I’m happy. And Ide@nitely don’t wanna go do the major label route, Idon’t wanna sell kids the idea of being a sex freak like alot of pop tunes I hear seem to! I guess I’m just alwayslooking for a new challenge, and right now, for me thatchallenge is Don’t Play!”

‘TAPHO’ ISOUTLATESEPTEMBERONDON’T PLAY.

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AT BOILING POINT’BOILER ROOM WORDS:OliMarlow PHOTOS: Ashes57

IN 2011, INTERNET VOYEURISM IS RIFE. HUMANS, BYNATURE, ARE CURIOUS. NOMATTER HOW TIGHT YOURSECURITY SETTINGSMAY BE, YOURMERE PRESENCE ONONLINE SOCIAL NETWORKS SUCH AS FACEBOOKMEANSTHAT YOU CAN BE UNDER THE SCRUTINY OF ANYONEWITHAN INTERNET CONNECTION AND A CORRESPONDINGACCOUNT. PEOPLEWANT TO SEARCHOUT AND INVESTIGATEOTHER PEOPLE’S ONLINE LIVES, POSSIBLY CELEBRATING ORWALLOWING IN THE KNOWLEDGE THAT THEIR OWNEXISTENCE IS EITHER ECLIPSING THAT OF OTHERS OR ISN’TAS BRIGHT AND JOYOUS AS THOSE OF THE VERY ONESTHEY’RE E-STALKING.

People want to watch, a fact that’s obviously not gone un-noticed.Online broadcasting has risen in popularity since the advent ofUstream - a platform that enables you to broadcast sounds andmoving pictures live. Ever since RinseFM DJ Oneman began‘yardcasting’ (aka mixing live from his bedroom) on Ustream atrandom intervals, there’s been a glut of DIY DJ sessions that havebought another branch of reality to virtual life. The London-basedBoiler Room is one such in=uential out<t.

Having grown over the last year from a small and intimate =y-on-the-wall style DJ session held in an East London o>ce, Boiler Roomhas stamped its own indelible mark on the world of bass music.Beaming out live performances and DJ sets from collectives suchas Standard Place, Hot=ush, Young Turks, Swamp81, Hessle Audioand Hyperdub, they’ve transmitted sets by the cream of the crop,presenting each one neatly - whether as a live event or after-the-fact, as a podcast or on-demand video clip. From super humblebeginnings, Boiler Room has snowballed to the point where they’vehosted sets from globally revered selectors such as Theo Parrish,Jamie XX and James Blake, and the team behind it are travelling theglobe, documenting performances from events like SXSW, SonarFestival or Gilles Peterson’s Worldwide Festival.

“The energy surrounding the music scene in London is at boilingpoint right now,” Thristian bPm, one of the tight-knit crew behind theBoiler Room, tells Trap from his Hackney base. “Somehow we'vemanaged to bring that footloose energy together and broadcast itaround the world. It's quite raw, and given the fact that it's abroadcast and not a club session, the DJs that come down feel acertain amount of freedom when their on the wheels.”

The Boiler Room is active and streamable live most Tuesday nightsbetween 8pm and 11pm, a regular event that enables viewersacross the globe to be united in concentration or to feel part of theexperience from the comfort of their desk chair. It’s changed a lot;blossoming from a concise group of people crammed into theactual back room of a warehouse to a weekly event held at CorsicaStudios, one of London’s leading venues located in the south ofthe city.

“We got kicked out of the initial space as it became too small for theamount of people that were turning up each week. The policeturned up due to noise complaints and the landlord decided to builda Tesco downstairs,” Thristian informs us smiling wryly at thememory. “We use Room Two at Corsica Studios now; it's great. Inmy opinion it has the cleanest soundsystem in London and unlikethe random warehouse spots we’ve taken over in the past, it's fullyequipped, so we don't need to drag in and set up a soundsystemevery time.”

“The <rst Boiler Room that we did with Loefah and Jon Rust wasgreat,” says Reecha, a regular Bolier Room guest on the DirtyCanvas and Standard Place broadcasts. “It was still in the original


25

BOILER ROOM IS ABLANK CANVAS FORPEOPLE TO DOSOMETHINGDIFFERENT.IT'S REFRESHING TOSEE DJS PLAYINGSTUFF THEYWOULDN'T PLAY INA ‘MONEY’ SET.

“

space in Dalston Lane and it was just us lot plus about 10 friends.There wasn't any hype or any notion of a guest list. It didn’t reallyfeel like anything proper, like a radio show or a club night, barLoefah's 30-minute solo set we pretty much just took turns playingrecords, getting on the mic and manning the chat room. I think itworked because it took what Steve (Oneman) was just doing on hisown in his room and made it a bit more structured and more social,so people wanted to tune in.”

Whether it’s for the upfront tracks, the out of the ordinary sets orexpressly to poke fun at the one guy who insists on standing on-camera the whole time, randomly =ailing his limbs in an awkwardappreciation for the music, trying to catch the eye of one of theMCs performing in front of him, as if they’ll at some point pass himthe mic and he’ll unleash a torrent of lyrical spray that will make himan instant internet sensation overnight; it seems that live DJ setsare just something people want to watch. The Boiler Room’ssimplicity and popularity is another example of the kind of weightand unfathomable impact the internet has had on the accessibilityof modern music.

“I think they've tapped into a demographic of people who don't getto see a lot of these artists or DJs very often,” muses GeorgeFitzGerald, the Hot=ush signed artist who recently made his debutin front of the camera after attending several sessions as anaudience member. “There's also the fact that Boiler Room is, veryadmirably, a blank canvas for people to do something di;erent. It'srefreshing to see DJs playing stu; they wouldn't otherwise play in a‘money’ set...”

As it stands, the Boiler Room has quickly become one of thequintessential places to hear music online, cornering a niche in thebass-music market a;ably. Having grown from a small crew ofinterested parties, it’s now recognised worldwide - there are evenevents popping up in foreign countries that stream the Boiler Roomsets over a club PA with groups of friends attending and, mostprobably, dancing.

“It’s great that it’s got to this big, global level but it’s de<nitelychanged into more of an event,” Reecha o;ers, regaling Trap withmore tales of the early shows, the rum sessions and the smallgroup of artists hungry to be involved. “We're growing quitesteadily,” Thristian agrees, “the understanding and appreciation forwhat we do is great. We get to brainstorm ideas every day betweenourselves and the people wanting to get involved.”

“Crossing over from being in the crowd to actually performing atBoiler Room was de<nitely a strange sensation,” FitzGerald o;ers,trying to rationalise his own experiences on both sides of thecamera. “It feels a bit more like you’re an actual musician whenpeople are standing around scrutinising your every move on thedecks - not to mention some of the more deranged heads on theforum watching live... that all adds to the enjoyment of playingthere, though.”

Whether you’re watching live and simultaneously keyboardwarrioring your way through the colourful chat room during thethree-hour show, or you’re using it as a radio, picking sets fromartists and collectives to soundtrack your day, you’re tapping intosomething that the invention of the internet has given us. In thebeginning, the internet broadcast may have been glitchy, bu;erheavy and poorly sta;ed (if at all) by stock webcams, half cockedand pointing at the ceiling, but that hasn’t stopped an out<t such asBoiler Room seeing the potential in something that’s genuinelyinnovative and so constantly rewarding.

BOILER ROOM IS LIVE MOST TUESDAYS FROM 8PMWWW.BOILERROOM.TV

Now signed to Chase & Status’s MTA records, which itselfoperates as a division of major record label Mercury, Nerorelease their debut album ‘Welcome Reality’ in August andlook set to become one of the biggest names in the worldof electronic music, pushing dubstep to widernotoriety than could ever have been imagined at thegenre’s genesis less than ten years ago.

Trap trekked over to Mercury Records HQ in West Londonand met with the guys a few weeks before the release of‘Welcome Reality’ to 3nd out more about the album,working with the BBC Philharmonic Orchestra, theirthoughts on dubstep and, of course, their love ofscience-3ction movies...

Hi guys. First things 3rst, how did you two meet and beginworking together?

Joe: “We met through mutual friends when we were about16. We used to chill together and write tunes, nothingserious. We got really into D&B, started going to One Nationand those sort of raves; Fabric, Bagleys, Coliseum, thoseplaces. After going raving a lot, we got the bug. The sciencebehind the music intrigued us. We wanted to be behindthe decks.”

Dan: “Yeah, the love that DJs and producers got, we wantedthat. That power to get the crowd going berserk; we knewwe had to be producers to get there. We got our >rst trackssigned while at university in 2001 and had our debut releaseon DJ SS’s Formation, and carried on producing D&B for agood seven years after that.”

PHOTOS: Laura Lewis

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Leading the way, with four Top-Twenty singles and a sound that fuses the traditional dubstep template with elements ofelectro, rock and sci-3 cinematics are Nero. Dan Stephens and Joe Ray, alongside regular vocalist Alana, havebroken new ground for the genre, taking their interpretation of dubstep to the top of the charts and around the world.However, with a sound that owes more to the production values of drum & bass and the sonics of 80s soundtracks, rockand electro, than it does dub or dark garage, Nero’s success hasn’t come without stirring controversy in the bassmusic underground.

In 2008, your dubstep remix of The Street’s ‘Blinded By TheLights’ turned a lot of heads and signalled your switch todubstep. You were doing well in drum & bass; why did youdecide to re-focus your attentions?

Joe: “It was getting harder to do anything new in D&B. We’dknown about dubstep for a while, but we weren’t sointerested in the traditional dubby, stripped-back sound ithad at >rst. I guess Skream’s ‘Midnight Request Line’; thatreally made us want to produce some dubstep. And when wedid, it was like ‘Wow, this is a whole new thing!’ We felt wecould be original and lead a sound.”

Dan: “D&B is restricted by the fast tempo of the music.There’s only so much you can squeeze in. Dubstep just feltfresh, it gave us a new lease of life as producers. It made usthink ‘Maybe we were meant to be writing at slower temposall along.’”

As you yourself have said, you weren’t so interested in thetraditional sound of dubstep. To many who fell in love withthe genre at its birth, people like yourselves and Skrillex areconsidered to be the spawn of Satan for the directions youhave taken it. What’s your take on this and do you evenconsider the music you make to be dubstep?

Joe: “No, not really. Our music is at a dubstep tempo, but thenew single ‘Promises’ has more in common with a rock tunereally. We can understand when people say ‘This isn’tdubstep’, of course we can, but we’re just doing our thing, wewrite the music we want to write. We look back at the acts

“WE’RE JUST WRITINGELECTRONIC MUSIC. IF ITUPSETS YOU, THEN DON’TTHINK OF US AS DUBSTEP.”

like Chemical Brothers or Daft Punk; when you went to seethem it wasn’t like you were going to see a big beat or breaksact, you were going to see The Chemical Brothers. In ourheads we’re just electronic music producers; that’s what wewant to be.”

Dan: “The thing for me now is; what is dubstep? I think theonly thing it now means is a song that’s written around140bpm, with the half-step beat. It’s easiest for us to bebilled and described as dubstep, but we’re just writingelectronic music. If it upsets you, just don’t think of usas dubstep.”

Joe: “I understand what people say, but the public’sperception of dubstep comes down to radio. The radio isnever gonna play the real purists stuD at 5pm.”

Dan: “Music has to evolve. People understandably get upsetwhen things change and move on, and they feel like they’velost something that was very personal to them. But it can’tstay the same forever. What really links our sound and thediDerent genres we touch is the bass. That’s what unites it.We’re quite happy for what we do to just be calledelectronic music.”

Joe: “We’re just writing the music we want to write. We’re notconscious of what bracket that will Et us in. We’ve felt free tomerge the kind of stuD we were into when we were kids,random 80s disco, the rock stuD, Elms – and we’ve tried tocombine that with the modern danceFoor sound.”

Dan: “We try not to draw any inFuence from within dubstep;we draw inFuence from outside. I think that’s clear. We wantto create an album like ‘Discovery’ by Daft Punk – timelessmusic. Writing ‘Welcome Reality’, we’ve been conscious ofmaking it future proof.”

So, tell us about the album...

Dan: “It’s 14 tracks, mostly at 140bpm. There’s somehalf-time D&B on there, some electro, ambient bits, as wesaid before, it’s all bass music. There are seven tunesfeaturing Alana, our singer. It’s nice to have a constantcollaborator vocally, it gives us an identity.”

Joe: “It was three year’s work, so it’s a complete mash-up ofinFuences. Soundtracks to Elms like Blade Runner, thecinematic aspect, that’s an obvious inFuence.”

Dan: “I think the one thing that carries through the album is asound and imagery of 1980s futurism. Like Joe said, thingslike Blade Runner where the future was depicted as dark anddystopian. In the 60s and 70s the future was always whiteand clean, then in the 80s, it got grim and post-apocalyptic.It’s such an amazing look, you think about those 80sspaceships; all industrial and dark.”

One look at the Elm-poster style album art, your recentvideos and the sound of the record itself deEnitely allsuggest you guys are big sci-E fans...

Dan: “Yeah we are; me more so than Joe. Blade Runner andAkira are two we really share, though. And Aliens too...”

Joe: “Blade Runner is an amazing Elm. That weird dystopianmixture of industrial and personal, androids battling with

emotions, a vision of the future where humanity is on theedge... it’s captivating.”

Dan: “It’s a futuristic Elm noir. It hadn’t been done before. It’sso quintessentially 80s; the costumes, sets, dialogues. It’s acult Elm because everything is right about it.

Joe: “Which cut though?”

Dan: “The director’s cut’s the one; the ending is better. AndAkira, too... Visually, it’s unreal. The detail in the drawing, youcan see why it was the most expensive Elm ever made at thetime. The city in Akira has been really inFuential on us andwhat we’re doing. It’s so well imagined.”

And Enally, you recently collaborated with the BBCPhilharmonic Orchestra to perform a ‘dubstep symphony’live on Radio One. How did that come about?

Dan: “We got approached by Radio One. They’d been talkingwith the BBC Philharmonic, who had just moved to a newconcert hall in Salford, so as part of the promotion for thatthey wanted to work with all the BBC radio stations. For theRadio One collaboration, they went for that real clash, to playsomething they never really would, and I guess that was us.When we got the call, we didn’t even have to think about it; itwas an honour. We said yes straight away.”

“We both had a good foundation for it – we’re both bigclassical music fans and we’ve both had classical training.I’ve did music A-Level and played cello for 15 years, andJoe’s a great classical guitarist. It seemed like a perfect thingfor us to do.”

Joe: “We began writing it on the computer using orchestralsound libraries. Once we’d composed the main body ofwork, we had a bit of help with the arrangement - it’s a90-piece orchestra, so we had to make sure everyone wasbeing used. We realised after the Erst rehearsal that thewhole cello section were only playing one note! So we had togo back in on it. It was nerve-wracking; we were a bit out ofour comfort zone.”

Dan: “Originally we just thought we’d be composing it, notactually in the orchestra ourselves. But it ended up with usplaying elements, triggering samples and stuD. It was scary.But I know that is one thing we’ll look back on and think itwas an amazing experience. I hope it opens up doors for us–we’d love to do Elm music, score a sci-E maybe...”

Joe: “Yeah, Blade Runner 2! We’re just waiting for that call!”

Dan: “We had a little bit of trouble to get it sounding right, werecorded it all the parts, and we’ve re-mastered it and thatwill be on the deluxe version of ‘Welcome Reality’. Theorchestra was recorded well, but we went back in on ourside. So this will be the Erst time that people will hear it as weenvisaged it...”

A ‘Director’s Cut’ almost?

Dan: “Yeah, it is – our true vision.”

‘WELCOME REALITY’, AND THE SINGLE ‘PROMISES’ AREOUT NOWONMTA/MERCURY.

30


’SPZERO76SPZERO76 IS THE BRISTOL-BASED ILLUSTRATOR, DESIGNER ANDARTISTWHOHAS PROVIDED THIS ISSUE’S AMAZING PULL-OUTCENTRE-PAGE POSTER.

HIS VIVID, COMIC BOOK INFLUENCED STYLE AND TALENT FORCAPTURING AMOMENT IN TIME GRABBED TRAP’S ATTENTIONWHENWE CAUGHT HIS RECENT SHOWAT THEWEAPON OFCHOICE GALLERY, ANDWE KNEWWE HAD TO BRINGHIS EYE-POPPING, FULL-COLOUR CREATIONS TOWIDER ATTENTION. FLIP OVER THE PAGETO CHECK THE POSTER SPZERO76SCRIBBLED JUST FOR US, ANDREAD ON FOR AN INSIGHTINTO THE MANHIMSELF...

Hello SPZero76! Please introduce yourself...“My name is Keith Hopewell but I go by the tag of SPZero76,which stands for Solo Productions Zero Talent Since 1976! I’vebeen drawing since I was a kid and it was the only thing I wasever interested in at school. I’ve lived in Bristol, on and o@, sinceway back in 1996 when I moved here for uni, although I’moriginally from South Yorkshire!”

How would you describe your work?“I was recently described as Dark Disney, which I loved... I’mkeeping that tag! I’ve been inBuenced since childhood bycomics, music, movies and pop culture in general. My art is verycolourful and quite cartoony, but every image has a darkundertone.”

How do you 'nd inspiration for your art?“I’m lucky enough to get inspiration frommost things!Sometimes I can just see a shape, which will lead to a characterdesign or even a whole scene. I’ve even had some of my bestideas in my sleep! It’s easier to And things that inBuence methese days - I just have to surf the net. Back in the day, I used toget a lot of inBuence from club Byers. I bought a Japanese folktales book the other month, along with Greek mythology andthe Street Sketchbooks. That’s loads of inBuence and ideas infour books.

“Also, I run an art project through Facebook, called‘Collaberation Nation’, which has almost 100 artists involved.Each one brings ideas and inspiration, and as the project seeslots of the artists working together, it’s hard not to getinBuenced!”

In your work as an artist, what have been your biggest andproudest achievements?“That has to be the exhibition at Weapon of Choice Gallery withLoch Ness, which was the culmination of the last eight monthswork put together on canvases. I’ve worked live drawingalongside Loch Ness a lot this year and we’ve been luckyenough to get job after job painting shops and bars, as well ascanvases and digital work.

“The thing I’m most proud of is ‘Collaberation Nation’! Theproject sees artists working together to create amazing piecesthat change and evolve with each stage. ‘Collaberation Nation’has evolved too, from being a silly idea to being recognised andrespected by many artists, and has seen us create a range oftees, have our own room at Upfest Urban Paint Festival and winSecret Wars, alongside Squirl and Loch Ness, over the sameweekend against some amazing artists.”

What are your plans for the future?“I always set a milestone to try to achieve. My last was to havesome of my art on tees and have an exhibition at Weapon ofChoice. I now have art on ‘Collaberation Nation’ tees, TreacleClothing Tees and Spunky Tees and have just had a show atWOC. My next milestone is a bit further away - having a show inNew York and getting my work into some international artmagazines. Maybe I should try for London Arst!”

In a dream world, what would be your ideal commissionor project?“It would be nice to take ‘Collaberation Nation’ on the road andvisit lots of cities around the world to do live drawing andexhibitions with the artists. It would also be great to work on apiece with Stan Lee, Banksy, and Jamie Hewlett. Then I couldhang it on my wall!”

And 'nally, any shouts?“I wanna thank myMissus, Caz for putting up with my shockingconversational skills "Art! Art! Art!" and to anyone who hassupported my art throughout the years! Thanks!”

WWW.SPZERO76.COMWWW.WEAPONOFCHOICEGALLERY.CO.UK

34

“GREAT MUSIC OFANY GENRE IS TIMELESS”

DJ EZ WORDS:Sophie�omas

35

WHETHER YOU LOCKED INTO HIS BREAKFAST SHOWONFREEK FM, HIT THE DANCEFLOORS OF TIME AND ENVY(PEACH SCHNAPPS AND LEMONADE IN HAND) ORJUMPED AROUND YOUR LIVING ROOM TO ‘PURE GARAGEIII’ AGED 13, DJ EZ’S STRAIN OF CROSSOVERUNDERGROUND GARAGEMANAGED TO TOUCH THEMASSES AT THE TURN OF THEMILLENNIUM. THOSETIMELESS, SUMMER-INFUSED VOCAL PRODUCTIONSTHAT CAME TO TYPIFY GARAGEMUSIC NEVER LEFT EZ’SRECORD BAG, AND IN 2011 STILL HAVE DANCE FLOORSLOCKED JUST AS THEY DID 12 YEARS AGO.

Today renowned as one of the most technically skilled DJs ofall-time, EZ’s in>uence remains as strong as ever in the world ofUK bass music and, despite an 11-year stint on Kiss FM and amulti-platinum compilation series under his belt, it’s remarkableto see his selection skills still take a powerful hold overunderground club crowds today. Trap caught up with this truelegend of bass-music culture for a quick chat about hisachievements to date, the evolving nature of radio broadcastingand who he’s eyeballing for the future.

EZ, it’s an absolute honour! How are you? What are you upto? Still playing out loads? Any time to get into the studio?

“I’m well, thank you. Extremely busy at the moment, no time toeven sleep! I’m in and out of the UK with gigs, my schedule isjust non-stop. Unfortunately, no time for any studio work rightnow, but after the summer season I’m hoping to get in thereagain, even though my bookings always increase in UK oncesummer is over.”

You’ve been on Kiss for over a decade; do you think that radioculture is still as prolific as it was 10 years ago?

“In terms of legal stations, I think that they’re much more diverseand open minded than they were when I was =rst on radio.I think they feel that they have to compete with the piratestation network, as there is clearly a market for undergroundmusic, as is now being shown in the music that is currently inour Top 10. Young, talented artists are being given chances thatthey previously never would have been given. As far as my radioshow on Kiss, I believe my show is as popular as it ever was. It’sthe best platform possible to stage new music.”

Do you miss the freedom that comes with broadcastingthrough pirate stations?

“It’s true that on legal radio you have not just the stationmanagement, but independent bodies such as the radioauthority monitoring shows. I have to say, though, with my radioshow, I have just as much freedom as I did when I was on pirate.I guess it’s easy because my show is all about the music. And Iget on really well with everybody at the station - this year I’vebeen on Kiss for 11 years, which I think is unbelievable! I lovedoing my show on Kiss and it’s an achievement that I’m veryproud of, as it was always one of my goals when I was onpirate radio.”

What key productions led you to embark on your garagejourney? We hear you were playing hardcore before youdiscovered your love for garage…

“I stumbled across a pirate station playing some US and UK 4/4garage tracks. There were a few tracks in particular that caughtmy attention and started my whole garage journey. Thosetracks were produced by the legendary Todd Edwards. Today,he’s still, and always will be, my favourite producer and remixer.”

Why do you think garage has such a timeless quality?Tracks you were playing out in the early 00s still getmassive responses in the raves...

“Great music of any genre is timeless. If you loved a track whenyou =rst heard it, you’ll love it for years to come, in my eyes.I guess there’s always that nostalgic aspect too, rememberingthe time around when the tracks were released and where youused to go, what you used to do, you know? Relating music tofond memories.”

Who are you watching right now, production wise?

“There’s a surprising resurgence going on right now with wellknown producers such as Dem 2, Wookie, Dreem Teem andothers remixing and producing new tracks, which is great news!There are also loads of club nights happening plus compilationalbums surfacing…”

Do you still look back fondly on the ‘Pure Garage’ series? Didyou ever expect to have such a huge outreach?

“Of course, I’m very proud of ‘Pure Garage’. I think, to date, the=gures are somewhere around 1.5 million plus copies sold. Itwas a big step in my career and a huge honour that I was askedto mix a compilation by such a massive record label as Warner.It was also a big platform for the UK garage genre and great tobe a part of a project that could push the music to a morecommercial market.”

DJ EZ IS SET TO HEADLINE THE PARADISE CARNIVALWEEKENDER ONMONDAY 29TH AUGUST.

SKATE CITY.

PHOTOGRAPHY: Shifteye Photography.facebook.com/shifteyephotography

STYLED BY: Kasha Malyckyj.MAKE UP: Katie Smith.

MODELS: Naomi and Layth.Shot at Campus skatepark Bristol.

www.campus-skatepark.co.uk

Layth wears:T-shirt Statecide at %fty%fty £25

Shorts Carhartt at Cooshti £49.99Shoes Vans at %fty%fty £63

Hat Diamond Supply Co at %fty%fty £40www.5050store.com

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Opposite pageTop American Apparel £23Skirt Lazy Oaf £38www.lazyoaf.co.uk

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Shorts as beforeBag Herschel Supply Co at Coosht £55.99

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This PageLayth wears:Tshirt Nike SB at &fty&fty £25Shirt Stussy at CooshtiChinos DC at &fty&fty £57Hat Statecide at &fty&fty £20

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808 MINDSTATE’ADDISON GROOVE WORDS:Jon Cook

IT’S IMPORTANT FORME TO MAKESOMETHING THAT IFEEL HAS ROOMFOR ELABORATION,THAT I CAN DOSOMETHING WITH.. .

“

Eschewing the synths and half-step rhythms with which hebuilt the Headhunter name in favour of a sound born almostentirely from a vintage 1980s drum machine, Williams newmusical persona takes as much in5uence from house, technoand Chicago’s juke scene as it does dubstep. With its booming808-basslines and tribal 4/4 grooves, the music bearing theAddison Groove brand exempli4es the fresh rhythmicterritories currently being explored by many producers whocut their teeth with dubstep but are now leaving that genre tocontinue its evolution in other hands.

The track that started it all for Addison Groove was the gargantuan‘Foot Crab’ for Loefah’s SWAMP81 record label, which was followedby more genre-twisting works for Pinch’s Tectonic and Martyn’s3024, inspiring Williams to begin hauling his drummachine to gigsand producing tracks live in front of audiences at clubs such asBerghain and Fabric – two of the most respected platforms forelectronic music in the world.

The danceDoors of the Berlin or London are, however, a far cry fromthe sleepy suburban street that Trap arrives at to meet Williams inhis home studio. Greeting us with a broad West County accent athis door, we climb the stairs to the top of the house and a roompacked with records, vintage synthesisers, the compulsory Macand, of course, a very retro-looking Roland TR-808 drummachine.

Unable to keep his hands oB the antiquated machine, Williamsbegins bashing the 808’s very retro brown and orange buttons, andwithin seconds has a drum groove looping round the room.

“Once ‘Foot Crab’ came out, and was getting bigger and bigger,that’s when I decided to do the live thing with the 808,” he says,introducing a cowbell to his impromptu performance. “I thought; ‘I’musing the 808 in my tracks, I can do something diBerent here anduse it on the good soundsystems I get to play on because I comefrom dubstep.’ My live show basically came fromme wanting to playmy drummachine on a big soundsystem! It was quite selCsh really;I didn’t think ‘let’s do a live thing so people can enjoy it.’”

With his own unique twist on performing live as Addison Grooveearning William’s plenty of praise from crowds and bookings frompromoters, life is obviously pretty good for the 27-year-old rightnow; as the whiteboard packed with remix projects and tour dateshanging on his studio wall attests. But it wasn’t always this way;despite his youthful looks and warm persona, Williams didn’t havethe easiest of starts in life, growing up in one of Bristol’s mostdeprived areas:

“Yeah, I’m from the ends. The end of the world in some cases...”he says forcing himself to step away from the 808 for a moment.“I think it used to be a lot worse than it is now. Most nights of theweek we’d be looking for a car to nick, bike to nick, bong to smoke.I would get in quite a lot of trouble and so did all the people I hungaround with. When I was about 17, I got kicked out of home and I leftthis area. I only came back two years ago.”

So how long after leaving home was it that Williams began to getinto music production?

“Well, I got into DJing Crst when I was about 15. I stopped when Iwas about 21; the youth hostel I lived in kept getting robbed and Ithought ‘If I keep my decks here, they’re gonna get nicked.’ So Istarted to get into making music. I was friends with Ice Minus –I knew them from D&B, which is what I loved at that time. I’d watchthemmake music in their studio, but I didn’t take it that seriously.I felt ‘What’s the point in making drum & bass when so much hasalready been done with it?’ If I wanted to make music, I wanted tomake something a bit diBerent.”

That something diBerent arrived for Williams in 2005, when, by acombination of chance and timing, he found himself immersed in

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the emerging world of dubstep. As the sound began to take earlyroot in Bristol, Williams stumbled upon the genre almost byaccident, yet within a short time had become one of the most ratedproducers in the genre, signing to template-laying label Tempa andhaving his records drawn for by the very biggest selectors around.

“I learnt about dubstep through grime. I started playing on a radioshow with a friend of mine, Orphan 101, and started buying grimefor that. If I was making D&B, I would have wanted to do the Ed Rush& Optical sort of sound, so I wanted to bring that into grime, which Iguess made it dubstep. It all happened super fast. I’d only beenmaking dubstep a few months when I got the call from Tempa. Itwas mad.”

Singles, EPs and a debut album, ‘Nomad’, followed for Tempa, andWilliams established himself as one of the best producers thatdubstep had to oAer, regularly touring the world and spreading theHeadhunter name far and wide. So why decide to start again, undera name that was completely unknown and with a totallydiAerent sound?

“I was playing out a lot as Headhunter, so had no reason to knock iton the head. A few years back I was looking on YouTube anddiscovered juke. I thought, ‘What is this, people going nuts to thiscrazy music?’ I went on Beatport, looked at the Juke Recordingscatalogue and bought it all. I thought ‘Right I’m gonna start my setswith this shit.’ I did that for about a year and a half before it gotnoticed. It wasn’t until January 2009, I played at Fabric, I played 45minutes of juke in Room 2 and it was rammed. It was the Brst time itwent oA. Then in April 2009 that’s when I made ‘Foot Crab’.

“I played ‘Foot Crab’ three or four times and no one gave a shit.They just wanted to hear Headhunter play dubstep. Then I gave it toPinch and Peverelist. They both said the same thing; ‘That’s thebest tune you’ve ever made.’ I was like ‘What?’But they were right.I realised people were into it, so I thought ‘I’m gonna run with this.’Not necessarily juke but Addison Groove; 808, samples and alwaysa vocal.

“I chose the name Addison Groove because Addison was thebiggest unisex name of 2008 and Groove because I like the namesGrooverider and Easy Groove. I didn’t want anyone to know who Iwas, if I was a guy or a girl. So when a lot of people started playing‘Foot Crab’, I thought ‘This is really cool, no one is aware that I’mHeadhunter.’ So I went with it, and it got bigger. And that was good;to know the music was judged or its merits of the music, rather thanwho I was or knew. And to be working with a fresh sound; it’s soimportant for me to make something that I feel has room forelaboration, that I can do something with...”

But how exactly would Williams describe his sound? Having justmentioned that in the last few weeks he’s made a track that BoysNoize, Modselektor and the mighty Diplo are all playing - hugelydiverse sounding DJs, who just happen to be three of the biggestnames in dance music – does even he know what his music is?

“It’s a good question. There is a juke inCuence, but it’s not juke.There’s elements of house, techno, dub everything – people justsay Bass Music now days. It’s a good name for it, but at the sametime, it means something wider –that could be anything; drum &bass, garage, a bassist from a jazz band?

“But that’s the beauty of it now; listen to the music now, whatBodikka, Ramadanman, those people are doing - it’s a bit ofeverything. As soon as you release yourself from somethingspeciBc, in my case frommaking dubstep, everything just Cows.”

Watch out for the -rst release on Addison Groove’sself-titled label in the autumn, and more Headhunter trackscoming on Black Box.

49

50


n 2010, there was one instrumental productionthat defined the year in grime. ‘Woooo Riddim’ wasmade in 20 minutes, several years before, by a

Dirty South hip-hop obsessed teenager fromWolverhampton. Causing a huge buzz, anunprecedented numbers of MCs rode the wave ofhype around the track and version after versionappeared, with every type of vocalist you couldimagine jumping on the 808-heavy instrumental.Mutating and cross-pollinating with just aboutevery strain of bass music going, remixes came thickand fast, and what began as a little-knowninstrumental quickly became one of 2010’s mostubiquitous underground anthems.

The producer Sam ‘S-X’ Gumbley, still only eighteen, got intomaking music at a very young age. “It was just in schoolreally,” he explains, “people I used to chill with did music, so Ijust kinda followed them. I got a copy of FL Studio when I was12 or 13 and I thought about getting rich from it – so Icarried on!”

Unsurprisingly, S-X says, he owes a lot to the unexpectedsuccess of ‘Woooo Riddim’. “I made it like three or four yearsago and I just slept on it. For it to do what it did, considering Ithought it was just a throwaway, is crazy! That track put meout there; fortunately I had the other stuA ready to back it up.It really was the start of my career and enabled me to get towhere I’m at now. It’s not the best beat I’ve made, but I guessthat doesn’t matter; a hit is a hit, man.”

The huge and immediate success of the track has enabledS-X (who grew up and lives in a place with no recognisablehistory in bass music) to avoid many of the usual problemsthat come from being detached from the heart of the musicindustry in London. “I’m really lucky,” he agrees, “because‘Woooo Riddim’ just blew up and before I even knew what realgrinding really was I was up there! People hadn’t even heardother beats and were saying I was the best grimeproducer… crazy!”

Although S-X came to prominence through the grime scene,running throughout his music are clear and notable ‘DirtySouth’ hip-hop inCuences. When asked how he’d describe hisstyle, S-X’s response is one that’s likely to agitate some ofgrimes notoriously tribal fans; “I’d like to class myself as a

WORDS:Oli Marlow PHOTOS: Ashes57StayingFreshs-x

WORDS:Sam Bates

Ihip-hop producer to be honest, though I’m just a ‘music’producer really. I listen to a lot of southern hip-hop, fromold-school UGK to all the new artists. I grew up listening to itand I’ve always done it. When I see my favourite artistsperforming at big award shows like the Grammys etc; that’spretty inspiring. It makes me want to grind much harder andget more out.”

But as the teenager reveals, he hasn’t just been busywatching and listening to the biggest names in US hip-hop,he’s been busy actually working with them and planning hisnext collaboration as he moves higher up the chain.

“I’ve done two records with artists from Young Money , sothat’s gonna be sick!” he says with obvious enthusiasm. “I’vedone a few more too, but I’m just working on some albumstuA right now. I think my ideal collaborations would be LilWayne or Drake. Hopefully you’ll see what happens!”

Away from the glitz and glamour of the US hip-hop scene, S-Xhas already worked with some of the biggest names in theUK, including the likes of Skepta, P Money, D Double E, DizzeeRascal and Roll Deep, while providing remixes for the likes ofRoots Manuva, Toddla T and more besides. And while S-Xproclaims his favourite UK MCs to be Skepta, JME and Giggs,he hasn’t forgotten Stay Fresh, his hometown crew and label.Stay Fresh have gone from strength to strength since S-X’sproductions shone a light on their work, receiving plenty ofhype and praise for their collective talents, which S-X explainsis indicative of a healthy scene developing in the midlands.

“There are quite a few raves from what I know. Stay Fresh arekilling it right now. They’re doing a lot of shows and alsoworking on some new singles and mixtapes. A lot is comingout this year! And then there are MCs like Trilla and manymore. The Midlands scene is deBnitely getting a look in; Ithink one day it will all just be grime, but you get Midlandsgrime and London grime, like how there’s West Coast hip-hopand southern hip-hop.”

Asked for his plans for the future and what we should look outfor, S-X demonstrates a natural conBdence that leaves you inlittle doubt that the teenage beatsmith has his trajectory setfor the very top. “Expect to see me in a lot of UK albumcredits,” he says, “hopefully in the charts, and doing some USstuA!” If he carries on at this rate, S-Xmight be the onewinning those Grammys soon...

TWITTER:@PRODUCERSXYOUTUBE: SXMUSICTV

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Ram Records LTD, PO Box 70, Hornchurch, Essex, RM11 3NR.T: +44(0)1708 445851/227753 F: +44(0)1708 223558 E: [email protected]

RAM100OUT NOWAvailable on 2x12” vinyl and 14 Track Digital Bundle.

RAM RECORDS PRESENT

LOADSTARBERLIN//HIT THE GROUNDOUT 29TH AUGUST 2011Available on 12” Vinyl and all Digital Formats.

OUT 15TH AUGUST 2011Available on 12” Vinyl and all Digital Formats.

HAMILTONBRAINSTORM//ECHOES

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REVIEWED BY: BASSMUSIC BLOG, SAM COLLENETTE,DUB BOY, LEYLA EROGLU, JON CARTER, SEAN KELLY,OLI MARLOW, DAVE COTGRAVE, JERYLWILTON,FIREMAN SAM, JUSTIN IRIAJEN, NICK HILLS,CURTIS MOLDRICH, JON COOK & LUNGILE MHLANGA.

TODDLA T‘Watch Me Dance’(Ninja Tune)

What does energy sound like? What noise does personalityand irrepressible enthusiasmmake? Well, something a little bitlike this; the second album from SheFeld-born DJ andproducer Toddla T. Famed and well-loved for his incendiary DJsets that take in everything from 4/4 bassline to dubwise D&B,‘Watch Me Dance’ shows a diCerent side to the Steel Citybadman as he rejects simply rolling out an LP packed withsingles or club bangers, and instead opts for an album soakedin the inEuence of the Jamaican music scenes of which he issuch a vocal fan.

The much-battered Roots Manuva collaboration ‘Watch MeDance’ acts as a both opener and statement of intent forToddla’s sophomore long-player, taking obvious inspirationfrom Prince with its funk-ridden bassline and 1980s drums,and setting the tone for what’s to come. From here, the albumworks through ten more tracks that all Dt neatly aside eachother, uniDed by a focus on uplifting bass-driven groovesdecorated by some of the best voices in both the UK and JA,including Ms Dynamite, Wayne Marshall, Donaeoand Timberlee.

The shadow of dancehall and reggae looms large over thisrecord, from the lovers lilt of ‘Lovely Girl’ to the bleepingdancehall of ‘Cherry Picking’ and ‘Body Good’, and the bashyballad of ‘How Beautiful It Would Be’, ‘Watch Me Dance’represents an exciting and unique fusion of two very diCerent,yet inDnitely entwined music cultures, and sounds just as goodon your headphones on a grey bus journey through Peckhamas it would blasting from a soundsystem on a sunny beach inNegril. Toddla, we are watching you dance, and we like it.

ESSENTIAL LISTENING.

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THE COUNT & SINDEN‘Mega Mega Remix’(Domino)

After earning rave reviews for theirdebut album ‘Mega Mega’ last year,which served up an unashamedlydanceEoor collection of pop-tintedelectro, Herve (The Count) andSinden return to take things back tothe underground with this genre-colliding remix album. Enlisting someof the hippest names of the momentfrom a whole variety of musicalstyles and sounds, ‘Mega MegaRemix’ oCers a unique, party-focused glimpse into the currenttrends and latest sonic mutationsthat are currently turning heads andmoving feet in the ever evolvingworld of dance music. With the likesof XXXy, Lone, Hot City andCanblaster all onboard, ‘Mega MegaRemix’ delivers everything frombass-heavy house to moombahton,dubstep and old-skool rave on arecord that reminds everyone ofHerve and Sinden’s unbeatable earfor picking the right tracks, at theright moment.

VARIOUS ARTISTS‘Ram 100’(Ram)

A one-hundredth release is amilestone for any record label, andin dancemusic is one that wouldusually be reached before a decadein business. It’s taken legendaryD&B imprint Ram Records nearly 20years to reach theirs, clear proof ofthe label’s commitment to qualitycontrol. And that commitment issomething Ram demonstrate hereon this special centenary release,calling upon no less than 14producers to commemorate themoment. Noisia remix ‘No Reality’,Sub Focus delivers themassive‘Stomp’, while Culture Shockcontinues to carve his electro-infused niche on ‘Machines’. RecentsigningsWilkinson and Hamiltonreally shine with the explosive‘Refugee’ and amen switch-up of‘Sound Boy’ VIP respectively, andshow that even after two decadesin the game, Ram are still leadingthe way.

MARTYN‘Ghost People’(Brainfeeder)

One of the most interestingproducers in electronic musicreturns with a predictably brilliantalbum for a label that may take someby surprise; Flying Lotus’sBrainfeeder. Stepping away from theslouchy, stuttered LA grooves forwhich the Californian label hasbecome world-renowned, ‘GhostPeople’ is a bold addition to theimprint’s discography, bringing withit the distinct inEuences of Martyn’sprevious work in the UK-born soundsof dubstep, 2-step and D&B, whileevoking scattered memories of earlyUS house, garage and techno withits relentless grooves. As such, the3024 boss remains as indeDnableand uncategorizable as ever with thisrecord, something he clearly revelsin, and is to the beneDt of everyonewho loves their bass-heavy music tosit squarely on the cutting edge.

TREVINO / INSTRA:MENTAL‘Chip’ / ‘Pyramid’(3024)

New name to me here, but Trevinooutshines Instra:mental on the Eipof this 12 for Martyn's 3024 label.Taking many of the currently hotelectro soundscapes andtechniques, but utilising them togenuinely emotionally aCectingends, 'Chip' has danceEoorpropulsion, interesting sonics andrealmusicality. This isn't to diss'Pyramid', which does theInstra:mental thing as well as any oftheir other tunes, but 'Chip' is theone for us.

VARIOUS ARTISTS‘Pepper Riddim’(Big Ship)

In recent years, Stephen ‘Di Genius’McGregor has been one of themost exciting producers indancehall. ‘Pepper’ is the latest in along line of smash riddims to comefrom theBig Ship camp. This is atypicallymelodic aCair that comeswith fantastic voicings fromMavado, ShabbaRanks (remindingus he’s boss!) andDi Geniushimself, plus plentymore solidoCerings fromElephantMan andBrammaamongst others.

SEBA‘Nightrider’ EP(Nu Directions)

Seba, best known for his dreamy‘nine-minute-plus’ masterpieceson Bukem’s seminal ‘GoodLooking’ imprint in the late 90’s, isback to his very best for thisrelease on Nu Directions.‘Nightrider’ has been around for awhile now and Dnally sees arelease with a stack of remixesthat bring it bang up to date fromSurvival, Eveson and Komatic andTechnicolour. Throw the menacing‘shadow boxing-esque’ ‘Sharkskin’into the package for goodmeasure and you have yourself arelease that ticks all the boxes.

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BREAK / VILLEM‘Something New’ / ‘Do You Wanna’(Symmetry)

Symmetry keeps standards highwith this new double A-side, andlabel-boss Break continues to sharehis releases with other artists, thistime inviting Villem to share thehonours. 'Something New' builds intypically atmospheric Break style,before dropping into one of thesickest bass-lines we’ve heard in avery long time. Villem goes in allsoulful on the Dip, and exempliCesthe vintage sound of Symmetry’sreleases.

OMUNIT & KROMESTAR‘Solar Cycle’ / ‘Merkabah’(Cosmic Bridge)

We’re loving the slow, butsupremely weighty, vibes thatOm Unit is bringing to the tableat the moment. Anyone who’sseen a recent OU show knowsthat by dropping the tempo, butkeeping the bass intact, Mr Unitmay have stumbled onto thenext big thing - not quite house,not quite hip-hop, but somethingthat allows the best of the aboveto co-exist and complementeach other.

STYLO G‘Call Mi A Yardie’(Blessed Youth Entertainment)

UK Dancehall is on the rise andStylo G is at the forefront of itsresurgence. Produced by hisbrother Kode Star, formerly ofCrazy Cousinz, this is aninnovative UK Bass inDuencedbashment rhythm. The lyricsreference clichés associatedwith being a ‘Yardie’ and are acelebration of Jamaican youthculture. A memorable chorus andsub-heavy rhythmmark this as ahigh-point in UK-baseddancehall's resurgence.

OLD APPARATUS‘Zebulon’ / ‘Hammerhand’ ftMowgli(Deep Medi Musik)

Mala’s Deep Medi label providesthe vehicle for the secondotherworldly oBering frommysterious producer(s) OldApparatus. ‘Zebulon’ is abewitchingly icy construction ofshattered snares, deep subs andghostly vocals that sounds likethe oBspring of Portishead andVex’d, while ‘Hammerhand’ seesMowgli’s intricate Dow Cnd itsway through crumbling drumlines and malfunctioning synths.

HYBRIS & RIDO‘The Prague Connection’(Metalheadz)

This latest release fromMetalheadz comes fromCzech-based duo Rido andHybris. Kicking oB with the darktechy vibes of ‘First Contact’,‘Focus’ continues the vibe, withprecise bass and awkward beatsreminiscent of Noisia. The deeprolling ‘Please Exist’ provides nicevariation, while ‘Memento’ roundsoB the EP with an amen workout.A precise cinematic soundingrelease, this is another greatedition to the ‘headz catalogue.

ARKIST & KIDKUT‘One Year Later’ /‘Vanilla Imitate’(HotDush)

Two of Bristol's quickest-risingproducers team up here toprovide more concrete evidencethat the city of bass is turning itsattention to house music. ‘OneYear Later’ is a simple 4/4 rollerthat somehow does nothing forseven minutes but manages tobe completely gripping all theway through. ‘Vanilla Imitate’ is astandard garage vibe - it's catchyand works well, but lacks thefreshness of the A-side.

DESET‘Virus’ EP(Gobstopper)

The second release from DonkyPitch comes courtesy ofBarcelona-based beatsmithNino. The ‘Classe De 1984’ EPfeatures Cve original tracks, eachexploding with enoughhyperactive funk-soaked synths,rattling drum lines and warpedlow-end to force the sun outfrom behind the clouds. Topclass remixes come courtesy ofOBshore, Kelpe and Krsur tocomplete a great package.

ENEI‘Stonehead’ EP(Critical)

Wow. D&B really doesn’t getmuch better than this, and like somuch of the best of the genrethese days, this EP comes fromfar beyond UK shores. Enei is thelatest Russian to master the artof making ocean-deep D&B, andhere drafts in the vocals of Riyaand the remixing skills of Jubei tobalance out the headsy nature ofthe beats and bass.

DIZZ1‘Decay’ / ‘Gone Soon’(Black Acre)

This single sees Australianproducer Dizz1 ditching his usualhip-hop constructions for apowerful danceDoor work out.‘Decay’ bounds along on relent-less bass pulses, letting the tightrim-shots skip oB the surface tomaintain the momentum. On theDip, ‘Gone Soon’ is driven bygalloping snare hits, which cutthrough the hauntingatmosphere to complete anotherstrong release from Black Acre.

56


PRITCH & TRIM‘Stereotype’(Planet Mu)

Between them they have morenames than it is possible to keeptrack of, but here Mark Pritchard andTrim join forces under the simplemoniker of Pritch & Trim. Trim’stongue in cheek wordplay andoD-hand Fow work perfectly with thebloated funk of the beat on‘Stereotype’, while on the Fip, ‘KissMy Arse’ is a creaking slice of brokendancehall brought to life by Trim’slaconic banter.

TC‘Tap Hoe’(Don’t Play)

TC is well and truly back. Followingup themassive success of thedebut single on his newlyestablished label Don’t Play, theBristol-based producer returns tothe fore with one of themostbattered D&B anthems of thesummer. There are few producerswho can better engineer a trackthan TC, and it’s this skill that turnsthe deceptive simplicity of ‘Tap Ho’into a groove-ridden, peak timedanceFoor weapon.

VARIOUS ARTISTS‘Bass Culture’(UKF)

To a large slice of the internet’spopulation, UKF represents aplace to check out the freshestand most exciting bass music onthe planet. For a lot of artists it’sthe greatest promotional toolaround for getting their dubstepand D&B tracks heard. However,to many bystanders it’s regardedas a semi-evil empire sticking itsEngers in every musical piearound. Wherever you stand onthat sliding scale, you’d be stupidnot to recognise UKF as anemerging power in bass music,and their latest compilation CDonly exempliEes their fastburgeoning status. Packed withdevastating dubstep and drum &bass, mainly aimed at thedanceFoor, ‘Bass Culture’ mayleave a sour taste in the esotericmouth, but there’s no doubt themasses will be queuing up forsecond helpings.

RUSTIE‘Glass Swords’(Warp)

Emerging in 2007 as part ofGlasgow's Numbers crew, Rustie hasforged a unique corner in UK bassmusic with his intense hypercolourproductions. From his classic remixof Zomby’s 'SpliD Dub' to theessential ‘Play Doe’ / ‘Tempered’ 12with Joker, his glistening meta-grimehas always stood Ermly on thecutting edge. 'Glass Swords' seesRustie’s trademark sonics taken tootherwordly dimensions, burstingwith 80s funk Ezz, lazer bass andearsplitting synthlines. Lead single'Ultra Thizz' is all breakdowns andbuild-ups structured aroundwhip-crack snares and stabs. 'DeathMountain' and 'Cry Flames' deal insoaring hooks and crushing low end,all locked to neck-snapping slinkygrooves. With a wealth of stylisticu-turns, every track is essentiallistening, and the intensity neverreally letting up till the end. This is anoutstanding debut album.

SKINNY FABULOUS &BUSY SIGNAL‘Rave Out’(Kubiyashi)

St Vincent’s Skinny Fabulous

teams up with Jamaica’s Busy

Signal to voice a bubbly, house

Favoured soca riddim track from

Barbados’ Kubiyashi Productions.

The groove is rolling, bass heavy

and complimented by mad synths.

‘Rave Out’ is a proper Caribbean

connection tune, which perfectly

captures the raw energy and pop

sensibilities that makes a proper

summer banger. There’s no doubt

that this one will get you raving.

L-VIS 1990'Neon Dreams'(PMR)

Night Slugs co-founder L-Vis1990 marks a change in musicaldirection with his debut albumPMR Records. Having made hisname over the last few years withthe sort of bass-heavy,genre-mashing club records thathave deEned recent times, ‘NeonDream’ is a far cry from the musicL-Vis 1990 himself oncechristened ‘HyperBass’. This is ahouse music record, and littleelse – those expecting an albumfull of Night Slugs style clubtracks will be sorely disappointed.Continuing the vibe Erst revealedby his ‘Forever You’ singlefeaturing Javeon McCarthy lastyear, this is silky smooth dancemusic that drips with soul.Collaborators include JulioBashmore, TTC and Teki Latex,providing added depth to analbum that is the sound of aproducer happily maturing andEnding his own way.

57


IFAN DAFYDD‘Miranda’ / ‘No Good’(Push & Run Records)

The debut release frommysteriousproducer Ifan Dafydd will no doubtserve to further fuel the intrigueinto his remarkable talent. ‘Miranda’skitters and bouncessimultaneously with soft pianochords laying the melodic bed forthe pitch shifted vocals and swirlingsynth lines. ‘No Good’ brilliantlyre-appropriates the AmyWinehouse vocal with jazz-inCectedsynths and deep bass hits.

THEPROTOTYPES‘Born To Rise’ / ‘Your Future’(Shogun Audio)

We've listened to D&B’s nerdierquarters moan about how ThePrototypes seem anomalous withthe Shogun Audio ethos, but hereat Trap, we don't agree. Friction’sBrighton-based label releasesslickly produced, uniquelycomposed slices of D&B mastery,and this 12 is no diAerent. Bothsides are grizzly tear-out beasts,more suited to a sweaty rave-upthan a bedroom chin stroke.Nerds beware.

LOADSTAR'Berlin / ‘Hit The Ground'(Ram Records)

Simply put, if you like big danceCoortunes, you will love this single. TheBristol-based duo of Xample andLomax has been owning things thisyear, and this latest 12 continuesthat trend. 'Berlin' leads in with a softatmospheric intro before unleashinga series of trademark Loadstarbasslines Bt to shake any dance. Onthe Cip, 'Hit the ground' does similardamage complete with added Reecebass. Classic Ram.

TRIM‘I Am’(Butterz)

Somewhat of a veteran in grime,former Roll Deep member Trimhas been MIA for a minute or two,but his return comes in a form thatwill see his fans return full force.'I Am' shows a radio-friendly Trimdeliver applaudable content on asmooth TRC produced beat,demonstrating his ever expandingmusical versatility. Preditah'sgrimier remix adds just enough tocomplete a strong release.

D DOUBLE EFT. DIZZEE RASCAL‘Bluku Bluku’(Dirtee Stank)

This latest single from D Doublesees label boss Dizzee RascalbrieCy return from his popadventure to spit a venomousverse almost as good as the angryangst-ridden vocals of his teenageyears. D Double continues themomentum of his recentunderground smashes here,referencing his own distinctiveslang in the chorus. Produced byS-X, this is a grime banger.

TOMB CREW‘Watch This’ EP(Black Butter)

Serious carnival vibes here from

Tomb Crew, calling up Rubi Dan

and Juxci D to join their own

Illaman on the mic for the lead track

on this four-track EP. ‘Watch This’

is a bashment infected slice of UK

rave music, while ‘Top Ten’ delivers

crack house, ‘Ode To Tom & Jerry’

resurrects some hardcore jungle

vibes and ‘Yaphet Kotto Stole My

Steez’ brings a bassline Cavour to

a wicked EP.

resulted in a rich and eclecticmusical backing for Kartel. TheNew York producer’s hauntingmelodies, heavy sub bass andminimal drums combine withKartel’s powerful tales of ghettolife, girls and his owncontroversial and ever-perplexingpersona to devastating eAect.The album is enthralling fromstart to Bnish and further proofthat despite all the controversyand crazy statements, Kartel isreally running things right now.

VYBZKARTEL‘Kingston Story’(Mixpak Records)

Dancehall albums are often acollection of a few hot singles andplenty of Bller. With ‘KingstonStory’, Vybz Kartel teams up withrenowned New York producer andMixpak boss Dre Skull to buck thattrend and create a brilliant set ofexpertly produced songs. Leadingon from their Brst collaboration,2009’s ‘Yuh Love’, Kartel and DreSkull have created an album ofstunning cohesiveness andoriginality. Dre Skulls’ impressivehandling of production has

58


N TYPE‘Wheel & Deal Dubstep Vol.1’(Wheel & Deal)

The last few years have seen an

explosion of dubstep compilations.

From the mildly oCensive eCorts

you see lining the shelves at Tesco

and Sainsbury to the likes of UKF

and Get Darker, some come with an

endorsement from the

underground and others simply

smell of a desperate attempt to be

‘down with the kids’. Into this murky

void steps N-Type, one of dubstep’s

original DJs. Taking the sound of his

RinseFM show and distilling it into a

grimy collection of the hottest

Wheel & Deal dubplates from a host

of artists, including Coki, DJ Madd,

Matt U, Phaelah, Lemon D and

loads more, N-Type turns in a

dubstep CD that’s actually not

chock-full of Skrillex tracks and the

latest Nero remixes. If that sounds

like your particular brand of

140bpm then we suggest you

check it out.

SQUAREWAVE, SUKH KNIGHT&MR K‘Tribesman’ EP(NewWorld Audio)

Heading up a four-track EP on New

World Audio, Sukh Knight and Mr K

return to the label alongside

Squarewave on ‘Tribesman’. As the

name suggests, this is tribal

dubstep infused with indigenous

swagger, while the whole EP seems

like it was made for grime MCs to

spit over. Spacious beats make way

for heavily weighted basslines and a

particularly London attitude across

a variety of Eavours.

NERO'Welcome Reality'(MTA / Mercury)

Nero is one of the biggest names inelectronic music right now. Theduo’s debut album, ‘WelcomeReality’, comes after a year that’sseen them become the latestproducers to rise from the world ofunderground bass music to conquerthe charts. With four singles alreadyreleased from this album, and withtwo of those – ‘Guilt’ and ‘Me & You’ -breaking the Top 20, you’ll know whatNero sound like these days –incredibly engineered andoverwhelmingly cinematic, fusing theestablished dubstep template withelectro house inEuences and sci-Dsoundscapes. The 1980s is theprimary theme here, both sonicallyand conceptually – from the sci-Dcover art to the boogie of ‘Must BeThe Feeling’ and stadium rock of‘Promises’. Love or hate their sound,‘Welcome Reality’ really is acomplete album, and the brutalpower and intense drama of trackssuch as ‘Innocence’ leave little doubtthat very few can engineer a dancerecord quite like Nero.

COSMIN TRG'Simulat'(50 Weapons)

Having garnered acclaim with

releases on Rush Hour, Hessle Audio

and Tempa to name a few, Cosmin

TRG’s debut album ‘Simulat’ comes

courtesy of Modeselektor’s boutique

50 Weapons imprint. Since Drst

rising to prominence, the Romanian

producer’s constantly evolving style

and unwillingness to retread old

ground has marked him out as a vital

talent and this album will further

cement that position. Characterised

by its beautiful handling of warmth,

depth and texture, the album builds a

journey through a series of carefully

constructed 4x4 manipulations,

detouring through deeper ambient

pieces along the way. TRG brings his

indeDnable qualities equally to the

minimal thump of lead single ‘Fizic’ as

he does to the delicate melodies and

smooth bassline of ‘Less Of Me

More Of You’ or the dusty shuFe of

‘Ritmat’, creating an album that draws

the listener in from start to Dnish.

WOZ‘Seen’ EP(Black Butter)

This is the second featured EP fromBlack Butter this issue, but music thisfresh needs shouting about. Woz is amysterious, Bristol-based producerwho won the RackNRuin remixcompetition a fewmonths back, and isnow rewarded with his own EP for theever on-point BB. Dancehall, grime,funky andeverything else collidegloriously on all four tracks, providingthe sort of beats that fans of Redlightwill adore.

SETSPEED‘Komu’ / ‘Detail From A LargerWork’(Bass Music)

Setspeed drops the tempo from 140

and into more reDned territory.

‘Komu’ takes slow, electro beats with

found-sound textures and builds up

to a catchy analogue midsection that

recalls Boards of Canada or classic

Autechre. The Eip, meanwhile,

subverts future garage, burying a

skippy beat under layers of abstract

harmonics. Not peak time bangers,

then, but an engaging listen.

NERO•PROMISESNEW SINGLE OUT 7TH AUGUST

INCLUDES NEW LIFE AND REMIXES FROMCALVIN HARRIS & SKRILLEXTAKEN FROM THE DEBUT ALBUM

WELCOME REALITY OUT AUG. 15TH

MTA007

MTA008

16BIT•DINOSAURS/BOSTON CREAMNEW SINGLE OUT 29TH AUGUST

www.thisisnero.comwww.facebook.com/16bitmusicwww.facebook.com/MTARecords

BASSPOINTSCLUB LISTINGS

60


WAREHOUSE PROJECTFROM 17 SEPTEMBER@Store Street, Manchester

After <ve years in the Store Street space beneathPiccadilly Station, Manchester’s groundbreakingWarehouse Project has unveiled the <nal series ofevents to take place at the now legendary venue.As ambitious as it has been successful, WHP blazed atrail that many have since followed, programming threemonths of stellar line-ups into one glorious season,hitting just as the students arrive in town and closing onNew Year’s Day. With a programme of events othersimilar ventures could only dream of, expect everyonefrom DJShadow to Jack Beats to Seth Troxler andJames Blake at the 24 events lined-up for what will be a<tting end to a memorable era.

URBAN NERDS CARNIVALWARM-UP27 AUGUST@XOYO, London

Trap favourites Urban Nerds return for the <fth yearrunning with another wicked Notting Hill warm-up party,linking up with Reggae Roast for two rooms ofCarnival-inspired bass goodness. German duoSchlachthofbronx make for the perfect headliners withtheir tropical, bass-heavy sound, alongside themonstrous A1 Bassline and the frighteningly youngMele, while Reggae Roast residents Exel and Moodie arejoined by masters of dancehall The Heatwave tocomplete another sick Nerds line-up.

AUGUST / SEPTEMBER 2011

SATURDAY 20 AUGUSTSHOGUN AUDIO@CABLE, LONDONFriction, Icicle b2b Distance, Alix Perez, dBridge,Spectrasoul, Total Science b2b SPY, Rockwell, Presha,SP, Mantmast.

FRIDAY 26 AUGUSTRUN@MOTION, BRISTOLBenga, Friction, Hype, MistaJam, Brookes Bros,Flux Pavillion, Hazard, Marcus Intalex, Icicle, Doctor P,Mensah, Koast, Jakes, IC3 + more.

PLAYAZ@ FABRIC, LONDONDJ Hype, Pascal, Original Sin, Hazard, Taxman, Friction,Blame, Goldie, Aliz Perez, Commix, Total Science, Jubei,Kenny Ken & The Ragga Twins, Fabio.

SATURDAY 27 AUGUSTWFS PRESENTS CHEW THE FAT@CABLE, LONDONZinc, MJ Cole, Hot City, Foamo, Green Money,Marco Del Horno b2b Last Japan, French Fires + more.

SUNDAY 28 AUGUSTEASTERN ELECTRICS@GREAT SUFFOLK STREETWAREHOUSEMaya Jane Coles, Jesse Rose, Riva Starr, Zombie DiscoSquad, Paul Woolford, Dark Sky, Icicle (live), T. Williams,Monki, Seams (live).

MONDAY 29 AUGUSTDEVIATION CARNIVALWEST@ THE PARADISE,LONDONDJ EZ, Zinc, Alexander Nut, Scratcha DVA, Benji B,Lil Silva, Semtex + more.

DEVIATIONC’VALEAST@CAMPBASEMENT, LONDONKode9, Wookie, Benji B, Waajeed, Dego + more.

HOTWUK CARNIVAL BASHMENT@EAST VILLAGE, LONDONTheHeatwave, Sticky, Navigator + guests.

THURSDAY 1 SEPTEMBER4 POINTS@ EAST VILLAGECraggz & Parallel, Need For Mirrors, Siren (ViciousCircle & Universal Project), Eveson & Sam KDC.

FRIDAY 2 SEPTEMBER51*27@ THEKLA, BRISTOLKingdom + guests.

THURSDAY 8 SEPTEMBERREBEL INSTINCT@ THE NEST, LONDONDJ Krust, Need For Mirrors, Benjamin One, Mark Day,Square Wave + more.

SATURDAY 3 SEPTEMBERAUSMUSIC@XOYO, LONDONWill Saul, Appleblim, Midland, Deadboy.

FRIDAY 9 SEPTEMBEROFFICIAL TOOTS AFTERPARTY@ BRIXTON JAMMDub Pistols (live), Don Letts, The Heatwave, Reggae Roast+ more.

NIGHT SLUGS@ FABRIC, LONDONL-Vis 1990 & The Neon Dreams (LIVE), Bok Bok,Julio Bashmore, Jam City, Girl Unit, Kingdom, Sinden,Boy 8 Bit, Mele, Illum Sphere.

61


HOSPITALITY7 OCTOBER@Motion, Bristol

With a huge Hospitality taking place at BrixtonAcademy on 30 September, one week later it’s Bristol’sturn for one of the biggest brands in dance music tobring their party to town. Part of the In:Motion series atBristol’s Motion club, this mammoth rave is the Bristollaunch for Camo & Krooked’s debut LP, and theAustrians are joined by an all-star roster of supportincluding the likes of Danny Byrd, Netsky, High Contrastand Loadstar. While the main arena might not beeveryone’s tastes, the second room is a lesson incredible bass-driven music and features MJ Cole, Mele,Tomb Crew, Kahn and loads more, and Med School takecare of room three.

EXODUS / DMZ8 OCTOBER@VoxWarehouse, Leeds

The DMZ fraternity once again make the mission upnorth for another link up with Exodus at the VoxWarehouse in Leeds. Saturday 8 October sees Mala,Coki, Pokes, Crazy D and guests testing the valves andshaking the cabinets of the mighty Iration Stepperssoundsystem with only the very latest and greatestdubplates. Meanwhile, DMZ original Loefah brings hisgroundbreaking SWAMP81 label to the North in thesecond room, inviting Boddika and Chunky to rep thedeveloping sound.

BASSPOINTSCLUB LISTINGS

AUGUST / SEPT / OCT 2011FRIDAY 16 SEPTEMBERPACK LONDON VS. BASSLACED@CABLERedlight, Silkie, Chasing Shadows, Truth, Slugz & Boyson

SATURDAY 17 SEPTEMBERRINSE FM 17TH BIRTHDAY@O2 ACADEMY BRIXTONLine-up to be announced.

THE HEATWAVE BIRTHDAY BASHMENT@BIG CHILL HOUSE, LONDONFree terrace party to celebrate The Heave’s eighthbirthday featuring very special guests.JULYMETALHEADZ@CABLE, LONDONDavid Rodigan, Breakage,Marcus Intalex b2bKlute, dBridgeb2b Jubei, Commix, Lenzman,Mikal, Neighbourhood in room2.

THE BEGINNING OF THE END@WHP, MANCHESTERDJ Shadow, Skream & Sgt Pokes, Sbtrkt, Hudson Mohawke,Jackmaster, Africa Hi-Tech, Mark Pritchard & Steve Spacek,Falty DL.

FRIDAY 23 SEPTEMBERSUBDUB@VOXWAREHOUSE, LEEDSIration Steppas Sound System, The Disciples, DubkasmFt Solo Banton, Benny Page, Remark, Marcus Visionary,Exodus, Steppa, Tonn Piper.

FABRICLIVE 59 LAUNCH@ FABRIC, LONDONFour Tet, Caribou, Jacques Greene, Pearson Sound,Ben UFO, Pangaea, Peverelist, Lunice, Alexander Nut,Funkineven, Josey Rebelle, Fatima.

GIRLS GO FREE@ STEALTH, NOTTINGHAMDark Sky, Residents + guests.

TEMPO CLASH@CORSICA STUSIOS, LONDONKromestar, SlugaBed, Seiji, Blue Daisy, Kid Kanevil,Laurent Fintoni + more.

FRIDAY 30 SEPTEMBERHOSPITALITY@ BRIXTON ACADEMYLine up to be announced.

FOUND@HIDDEN, LONDONJustin Martin plus special guests in Room One. A1 Bassline,Dem 2, Kasrave in Room 2.

LICKED BEATS@CABLE, LONDOND*Minds, Spyro, Die & Inja, Dismantle, Royal-T, Submerse.

SATURDAY 1 OCTOBERPHONICA 8TH BIRTHDAY@GREAT SUFFOLK STWAREHOUSEJoy Orbison, Visionquest, Benoit & Sergio, Soulclap,Simon Rigg, Soho + more.

SUBVISION@ LAKOTA, BRISTOL16 Bit, Nicky Blackmarket, Funtcase, Jakes, DJ Derek,Komonazmuk.

SATURDAY 8 OCTOBERAPE BIRTHDAY@WHP, MANCHESTERNero, Caspa, DSB Soundsystem, Redlight, David Rodigan,Naughty By Nature, Instra:Mental, Oneman,Mary-Anne Hobbs, Tonn Piper.

SUNDAY 9 OCTOBERDETONATE ALL-DAYER@ ROCK CITY, NOTTINGHAMNero, Skream, Netsky, Loadstar + many more.

COMING SOON

ALEXANDER NUTALIX PEREZ

ANDY C : ALIVEBENGA

BEN UFOBOK BOK

BRACKLES B2BSHORTSTUFF

BREAKCANBLASTER

CARIBOUCASPA

COMMIXCROOKERS PRESENT

DR GONZOCULTURE SHOCK

DANNY BYRDDEADBOY

DELTA HEAVYDJ EZ

DJ HYPE (2 HR SET)DREADNOUGHT (LIVE)ED RUSH AND OPTICAL

EROL ALKANFABIO

FILTHY DUKESFOUR TETFRICTION

FUNKINEVENGIRL UNIT

GOLDIEHATCHAHAZARD

ILLUM SPHEREJ MAJIK AND WICKAMANJACQUES GREENE (LIVE)

JAKESJAKWOBJAM CITY

JARVIS COCKERJUBEI

JULIO BASHMOREKASRA

KENNY KEN &THE RAGGA TWINS

KINGDOMLOADSTAR FEAT TEXAS

LONELUNICE

L-VIS 1990 &THE NEON DREAMS (LIVE)

MARCUS INTALEXMENSAH

MISTAJAM

N TYPEOBJEKT

PANGAEAPASCAL

PAUL CHAMBERS (LIVE)PEARSON SOUND

PEVERELISTROCKWELLRONI SIZE

SABRESCRATCH PERVERTS & AD

SKREAMSTARSLINGER

STOPMAKINGMESUB FOCUSTHE OTHERS

TODD EDWARDSTOTAL SCIENCE

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