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T H ED RO P

FACEBOOK: Search ‘Trap Magazine’

TWITTER: @trapmagazine

EMAIL: [email protected]

EDITOR: Jon Cook

CREATIVE DIRECTOR/DESIGN: Andy Hayes

FASHION EDITOR: Kasha Malyckyj

SALES & ADVERTISING: Iain Blackburn

MARKETING & DISTRIBUTION: Justin Iriajen

SOCIAL NETWORKING: Amy Stiff

WEB: Daddison & Nick Hills

COVER: Benji B by Ollie Grove.

PICTURES: Ollie Grove, Gareth Rhys, Sarah Ginn, Satoshi Minakawa, Mark Read.

WORDS: Oli Marlow, Kasha Malyckyj, Matt Riches Jason Gardener, Monki, Sam Bates,

Gwyn Thomas de Chroustchoff, Sean Kelly, Jeryl Wilton, Justin Iriajen, Amy Stiff,

Sophie Thomas, Oli Grant, Tim Rayner, James Rompini.

T RA P MAGAZ I N ED EC EM B ER / JA N UA RY 2 0 1 3WWW . T R A PMAGAZ I N E . C O . U K

THANK YOU: Dane @ Two Plates, All @ Urban Nerds, Adam @ Backdrop, Ben @ Run,

Rob, Tom & Ollie @ The Blast, Erin @ Columbo, Sam @ Red Bull, Lua @ Dutty, Will @

Coda, Jack @ Pack London, Saul @ Fabric, Andy @ The Bank, Louis, Rich & Syd

@50/50, Carly @ Everything, Cheba & Sam @ WOC, Chris @ Cable, Chris & Joe @ Idle

Hands, Danny Keston, Ollie Grove, Daisy & Christian @ UNOONE and everybody else

we forgot.

RISE UP PALEMAN / MOXIE

ADDISON GROOVE TRAP MIX

EATS EVERYTHING

OBEY IN PICTURES

BREACH

ART: HAKA / CHEBA

ROSES GABOR

BENJI B

CLARKS IN JAMAICA

ENEI

REGULARS FEATURES

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HYPE LATEST NEWS AND HYPEST HAPPENINGS

MONKI

URBAN NERDS

FIFTY FIFTY

FASHION

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

FASHION SHOOT PICTURE PERFECT

REVIEWS THE LATEST MUSIC & GAMES

STUDIO SESSIONS #2 WITH BREAK

BASSPOINTS THE HOTTEST EVENTS ON PLANET BASS

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CONSORTIUMThe Consortium has been a South Coastskateboarding institution for nearly 20 years,stocking the very best in skate and streetwearat its Bournemouth store. Bucking the trendof the recession, Consortium has just openednot one, but two new stores on the sameroad, giving more premium brands and skatehardware their own respective spaces.

While the original outlet will stock streetstaples like Quiet Life, HUF, Herschell,Diamond and Penfield, the shop next doorprovides a home for more refined brands suchas Pendleton, Norse Projects, Garbstore andWood Wood, and two doors up is where you’llfind the best names in skate hardware.

If you’re in Bournemouth make sure youcheck the new stores, and if not, payConsortium’s new website a visit.

ccoonnssoorrttiiuumm..ccoo..uukk

BUGGED OUTWEEKENDERTRAP CO-HOSTSMAIN STAGEOn the weekend of 18 January, Bugged OutWeekender returns with a massive three-nightparty at Butl in’s f lagship resort in BognorRegis. As we announced last issue, Trap wil lbe co-hosting the main arena on the Fridaynight with Union.

We all know that the end of January is themost depressing time of the year, so thispromises to be the perfect remedy for yourpost-festive slump. With on-siteaccommodation, an indoor water park and oneof the heaviest l ine-ups of house, techno andbass music possible, there really is no betterway to spend an otherwise miserable weekendin the depths of the Brit ish winter.

Bass music royalty such as Loefah,Disclosure, Jackmaster and Oneman wil l bejoined by house and techno gods such asFrankie Knuckles, Dave Clarke and AndrewWeatheral l, while Chemical Brothers headlinewith a DJ set. Tickets start at £149 for the ful lweekend; get yourself online and grab one nowbefore Christmas steals al l your money. We wil lsee you there!

bbuuggggeeddoouuttwweeeekkeennddeerr..nneett

RESPECT TORODIGANFew figures deserve morerespect than Rodigan. Thatrespect was enhanced inNovember when Rodiganannounced he was quittingKISSFM, following attempts tomove his show. Replaced byCraig David (bahahaha), Rodistood his ground. Salute.

rrooddiiggaann..ccoomm

NIKE MUSEUM

Celebrating ten years of NikeSB, an online museumdedicated to theskateboarding sub-brand hasjust been ‘opened’ by Nike.Presenting every shoe fromthe last decade, split by year,go waste some time staringat shoes!

bbii tt .. llyy//ssffvvmmvvrr

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CHILDREN OF THE CANBRISTOL GRAFFITI &STREET ART

Br is to l isn’t just the c i ty Trap ca l ls home; i t ’s a lso oneof the wor ld cap i ta ls for graff i t i and st reet ar t , w i thmura l-st rewn st reets and a v ibrant communi ty of ar t is tsf rom around the country ca l l ing i t home.

Behind every p iece is an ar t is t - some wor ld renowned,some s imply loca l heroes. Chi ldren Of The Can sets outto document each and every one, prov id ing an A-Z ofBr is to l ’s most important and ‘up’ ar t is ts . Th is is thesecond ed i t ion of the book, and features 70 addi t iona lpages and 30 new ar t is ts , demonstrat ing the cont inuedv i ta l i ty of the c i ty ’s scene.

Chi ldren Of The Can: Br is to l Graff i t i & Street Ar t is outnow through Tangent Books.

ttaannggeennttbbooookkss..ccoo..uukk

LOVELY DAY

After an amazing debut in2012, despite the rain, LoveSaves The Day has justannounced it will return toBristol’s Castle Park on 25May next year. Expectamazing music and exquisiteproduction in a city-centre park.

lloovveessaavveesstthheeddaayy..oorrgg

URBANINDUSTRYOne of the finest onlinestreetwear emporiums around,Urban Industry is celebratingits tenth birthday with someimpressive collaborations.Check the site for theirexclusive link-ups with QuietLife, Stussy and more.

uurrbbaanniinndduusstt rryy..ccoo..uukk

PLEASURE PRINCIPLENEW FESTIVAL FROMNUMBERS & DEADBEATGlasgow’s Numbers collective is joining forces with the Deadbeatteam for a brand-new festival in 2013. Taking place on theweekend of 26 April, in a ‘sprawling green valley’ near Newquayin Cornwall, the festival is called ‘Pleasure Principle’ and lookslike it could be something pretty unique.

Details about the actual festival set-up are yet to be fullyrevealed, but the first wave of acts has already been announcedand, as you’d expect from these guys, features many ofunderground dance music’s most revered names.

With HudMo and Lunice’s TNGHT topping the bill, alongsidefellow Glaswegian superstars Rustie and Jackmaster, pluseveryone from EZ and Oneman, to Maurice Filton, Robert Hoodand even Aba Shanti-I, Pleasure Principle is aiming high. Ticketsare on sale now, starting at £100 for a weekend ticket, on thePleasure Principle website.

pplleeaassuurreepprriinncciippllee..nneett

CRITICAL TURNS TEN

Among the most respected drum & bass labels in operation,Crit ical Music has been a conduit for deep, thoughtful takeson the genre for a decade now. In that time, label bossKasra has taken the Crit ical brand to the forefront of thescene and helped break many of today’s most vital producers

Celebrating in style, the label has just released the debutalbum from its latest signatory Enei (see page 66 forinterview), and is readying ‘Crit ical X’ – an anthology of tentracks from each of the imprint’s ten years in the game fromthe likes of Calibre, Breakage, Rockwell and Icicle.

And that’s not al l – if D&B is your thing and you’re lookingfor a spot this New Year’s, the Crit ical Sound NYEWarehouse party somewhere in East London is you. Checkthe Crit ical site for more on all of this, and a big ‘happybirthday’ to the label from all at Trap!

ccrrii ttiiccaallmmuussiicc..ccoomm

TRAP x UNO ONEYOUR CHANCE TODESIGN THE NEXTTRAP TEE!As we announced last issue, Trap has l inked up with

the one of the UK’s finest screen printing companies,

Uno One, for a special competit ion, giving you the

chance to design the next Trap tee-shirt.

You’l l have seen the Uno One guys’ handiwork before

– they’re responsible for those Swamp81 x Donuts

tees you’ve spied, as well as printing for Deep Medi,

Ashes57, Hyperdub and loads more. With such a

strong l ist of cl ients from the side of the music

industry we love, we’re hyped to l ink with Uno One

on this.

To enter email [email protected]

and we’l l send you a template and info pack to work

from. All entries wil l then be posted on both the Uno

One and the Trap facebook pages - the winner wil l be

the entry that gets the most ‘ l ikes’, The competit ion

wil l be running throughout the next couple of months,

so even if you don’t want to enter, make sure you get

online and vote for your favourite.

ffaacceebbooookk..ccoomm//ttrraappmmaaggaazziinneeffaacceebbooookk..ccoomm//uunnoooonneepprriinntt

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BUY TICKETSUB STEKCITYU

NIGHTS

BUTTERZYou may already know ofButterz, the forward-thinking grime label fromRinse duo Elijah &Skilliam. But you shouldalso know about Butterzthe club-night, which hasgained one hell of afollowing as the label hasgrown. Butterz is held atCable and brings asteady flow of loyalravers and line-ups to theLondon club. Regularlyfeaturing the likes ofRoyal T, Swindle,Champion and plenty ofspecial guests, this isone night you needto check.

THE NEST WITHMIKE SKINNERIf you’re planning to carryon the partying after NewYear’s Eve and intoJanuary, maybe give theNest a thought. Jumpinginto a DJ career this yearwas an exciting move forMike Skinner, and ifyou’ve not yet, you cancatch him on the deckson 4 January at the East-London venue.Supporting will be Melé.

CATCH ME AT:AMP CHRISTMASPARTY

I have thoroughly enjoyedbeing the resident DJ forAnnie Mac Presents thisyear. We’ll be closing theyear with a Christmas party,held at, of course, KOKO.The night will featuremyself, Roses Gabor (Live),Duke Dumont, Annie Macand Baauer. Damn sonwhere d'ya find this!

IN:MOTIONBRISTOL NYEThe city that Trap Magazinecalls home is one of themusical crown jewels of theUK. At any time of the year,you can always expect asolid line up at Bristol’smost heavyweight of clubs,Motion, and seeing youthrough into 2013 will beSub Focus, Loefah, Pinch,Boddika, Caspa, MarcusNasty, Melé, Martelo andmore. All across twowarehouses and twoother rooms.


ONE TO WATCHDON'T PANIC

Don't Panic is a Brum duo, individually knownas Tom Shorterz and Markus Anthony. Afterworking together on the Midlands DJ circuit foryears, the pair finally decided to bang togetherand create a new project to capture their lovefor the raw sounds of 1980s Chicago House.Their first release, the 'Don't Panic’ EP, is setto be out on my label Zoo Music on 10December. With the release gaining supportfrom the likes of Redlight, Dusky and Huxley,teaming up was clearly a great move!t

Trap’s regular columnist swings by withthe latest from her world. Make sureyou check Monki’s show on Rinse FMevery Saturday 6-8pm.

I LOVE…

CHAMPION ‘CANNON’ (DSB)Shy FX's Digital Soundboy imprint has seenmany exciting releases this year, including'Fever' from Radio 1's B-Traits, and DSB’sgolden-boy Dismantle’s ‘Warp’ EP. 2013 is setto be just as exciting, kicking off with a newEP from Champion. Look out for 'Cannon',which has been smashing the festival tents,club floors and carnival street parties allsummer. An all-round banger!

22-24March2013Pontins, Brean SandsWeekend tickets start at £95 andinclude threenight’s accommodationDay tickets are available from£30Line-up includes:

Channel One, David Rodigan, JahShaka, Iration Steppas, KingEarthquake, Jah Tubby’s, AbaShanti-I, Prince Jamo, MartinCampbell, Young Warrior+ many more.

U N I T E D N A T I O N So f d u b w e e k e n d e r

On the weekend of 22 March, the UK’s first everdub, reggae and roots indoor ‘weekender’ will betaking place at Pontins Brean Sands inbetweenBristol and Weston-Super-Mare. Making the UK thefocal point of the increasingly vibrant Europeanreggae scene for the weekend, United Nations OfDub will bring together the biggest and best artists,selectors and soundsystems from outside Jamaicafor a massive three-day party.

The line-up is, simply put, exquisite with most of thesounds, deejays and vocalists you’d hope for. JahShaka, Iration Steppas, Aba Shanti-I, Jah Tubby’s,Young Warrior and Channel One are some of themighty sounds in attendance, all playing in traditionalthree-way sound-clashes in the dedicated clash arena,while Rodigan, Mungo’s Hi-Fi, Dubkasm and a whole

bunch of Europe’s top acts help complete a stunningline-up that’s rich in all forms of reggae music.

Weekend tickets include accommodation on site,which ranges from four to eight-persons in size, andday-tickets will be available too.

With two huge main arenas hosting the soundclashes and many performers, plus a smallercapacity space dedicated to the weekend’seducational side and, of course, the indoorwater-park hosting pool partiesduring the day, UNODlooks pretty amazing to us here at Trap. We’ll bethere with red eyes, a Wray & Neph and a massivegrin... If reggae’s your thing, make sure you are too.

wwwwww..uunnooddwweeeekkeennddeerr..ccoomm

London’s finest party-starters are back with another run-down ontheir world.

www.urban-nerds.com

With the festive party season fast approaching, we’re gearing upfor a number of BIG parties here at Urban Nerds HQ. First up,we’re heading to the MS Stubnitz (the 80-meter Germandeep-sea fishing vessel that those who went to Bloc queued forhours to never get on to) with an all-star secret l ineup for ourChristmas special. Then, al l the focus is on our NYE show, wherewe’re teaming up with The Kool Kids Klub, Church and THEM,and heading to The Sidings (London’s newest warehouse space).

We’re also pleased to announce that we’l l be heading to Ministryof Sound on NYD for London’s biggest after-party, where we’l l beteaming up with Eastern Electrics for four rooms of the bestin house, techno, garage, disco and 4x4.


NEXT UPWhere you can catch us overthe coming months…

22 December

Urban Nerds Xmas Party @MS Stubnitz – London

31 December

Urban Nerds NYE Party w/Kool Kids Klub, Church &THEM @ The Sid ings – London

1 January

Urban Nerds & EasternElectrics present: NYD @Ministry Of Sound – London

18 - 20 January

Urban Nerds @ Bugged OutWeekender – Bognor Regis

1. Kry Wolf & CVS ‘Turbo Steppa’Given a revamp from Claude, last issue’snumber-one is now turbo charged.

2. Monkey Wrench ‘FatalAttraction’ (Pasteman Rmx)Emerging talent Monkey Wrench getan awesome remix by the mightyPasteman.

3. Duke Dumont ‘Street Walker ’ A deliciously deep bubbling basslinewith infectious lyrics.

4. Moet & Benson ‘When I ComeTru’ Ones to watch in 2013, thismasterful ly fuses garage with thenew bass sound.

5. Michael Jackson ‘Who Is It’ (MKRmx) This was given out for free onMK's soundcloud, so go cop it - thesecond drop is dancefloor dynamite.

RATTUS RATTUSHOT 5IVE>

We’re just about to launch our next l imited-edit iontee-shirt design and, for the first t ime ever, we’l l alsobe sell ing l imited-edit ion Urban Nerds beanies in twocolours. Pre order yours on our website now.

JME celebrates his crewBoy Better Know winningthe 2012 Red Bull CultureClash at Wembley Arenaon 7 November.

9thWILLOWfacebook.com/9THWillow

Middlesbrough isn’t a c i ty youwould normal ly assoc iate wi thset t ing t rends, but thanks to therecent opening of 9th Wi l low, thegi r ls of the North East wi l l begiv ing the sty le-obsessedsoutherners a run for the i r money.

Located just a few streets awayfrom the town centre, 9th Wi l lowis a p lace of un ique sar tor ia lde l ights, wi th st r ipped back décorf i l led wi th qu i rky t r inkets apt lyp laced amongst the impress ivese lect ion of garments andaccessor ies the store offers.

With brands inc lud ing Bi tch ing,Junkfood, Mink Pink andDimepiece a longs ide hand-se lected 90s v intage pieces,9th Wi l low presents independentshopping as i t should be. Watchout for the webstore coming soon.

10 Baker Street, Middlesbrough

FAS H I O N12WORDS: KKaasshhaa MMaallyycckkyyjj

&& JJaassoonn GGaarrddnneerr


Keep warm in sty le th is season wi thSi lver Spoon Att i re’s co l lect ion ofheadwear that turns the averagebeanie f rom st reet to ch ic.

Wi th sty les ranging f rom a bas ic logofeature and v intage cameo badge, tothe s l ight ly over- the-top mesh-bowadornment, there's a pr ice po int anddes ign to su i t every fash ionable head.

SILVER SPOON ATTIREsilverspoonattire.com

With an out land ish aesthet ic thatcombines v intage fabr ics, Japanesedenim and hand-craf ted product iontechniques, New York-based labe lJezebel and Toff does not d isappointwi th i ts la test co l lect ion.

JEZEBEL AND TOFFjezebelandtoff.com

Limi ted to just 100 p ieces of eachdes ign, overs ized pr in t sweatsh i r ts ,90s bombers and d is tor ted jeanscreate a un isex look that wi l l appealto many t r ibes of thest reetwear wor ld.


5BORONYC5boro.com

New York brand 5boro gets stuckinto the season in its own distinct

style, offering a strong apparelselection, as well as several skate

decks that reflect the brand’saesthetic. Graphic prints feature on

short and long-sleeved tees,including various takes on the

'Join Or Die' tag l ine and playfultakes on famous branding.

FALLENfallenfootwear.com

For AW ’12, Fallen has created apremium range of products that

demonstrates skate brands’ steadyprogression into more mature and

sophisticated territories. Theproducts throughout the collection

are a clear move on, offering clean-cut, str ipped-back options with a nod

to a workwear-inspired look.


The fifty fifty familia are back with another

run down on all things skateboarding…

WWW.5050STORE.COMFIFTY FIFTY TURNS 15

Fifty fifty store is now celebrating 15 years in the game! We’ll beshowcasing the new 15-year anniversary products at the store earlyin December, featuring some heavy-hitting collaborations, as well asloads of new graphics from our own camp. We’ve been working on allthis for some time, but it’s somehow managed to stay under wraps.We’re well stoked on what we’ve achieved and there’ll be plentymore to come in the New Year.

This line features new board graphics, apparel and headwear,including our first 5-panel cap, featured above in a pattern wecreated from a spot very close to the store. To follow the productlaunch, we’ll be staging an after-party, which will continue the 15 yeartheme with acts performing who we’ve always rocked in the store.

We’ve also been busy filming a new edit to coincide with this, with amajority of the team visiting Barcelona last month to skate the vastarray of ridiculous spots there and, of course, the DC Embassy.Be sure to keep an eye out for that!

All of us here at fifty fifty would like to thank everyone for therecontinued support over the last 15 years; it’s been a blast! If you’re inBristol, please come along and get involved in our anniversary celebrations!

SKATEBOARD CAFÉ

Skateboard Café has just released its brand new holiday collectionwith another packed launch night at the store. This range focusesheavily on an ice cream theme, with a bunch of new graphics andcolourways fresh for the season, as well as the brand’s firstinstallment of 5-panels, which tie in with the cleverly themed line.

The Skateboard Café boys recently took a trip to Bordeaux anddropped an edit that features the whole crew and includes a welcometo Korahn Gayle to the team section. Good work with that powermove, and with the cracking edit – check it at the link below!

http://vimeo.com/53158344#

Twitter: @fiftyfiftystoreInstagram: @fiftyfiftystore


JIMI HENDRIX – 'ALL ALONG THEWATCHTOWER'As a kid of around 12 or 13, I was fullyobsessed with Jimi Hendrix. I owned andloved everything ever made by him - Ieven taught myself guitar (to a fairly basiclevel) just so I could learn to play some ofhis tracks (though sadly I never managedto do so with my teeth). I had the songsscribbled down on scraps of notepaper,written out in basic 'guitar tab'. I stillcan't read sheet music properly... Thiscover of Bob Dylan's classic is one ofmany, many favourites!

COLOURBOX – 'LOOKS LIKE WE'RE SHYONE HORSE'From all my childhood tapes of vinyls thatmy older brother recorded for me, theColourbox album that this track is takenfrom struck an oddly strong chord with methroughout my life. I lost the tape in the mid90s and spent a couple of yearstrying to find the album again. I wasreunited a few years back thanks to thepower of the internet! Strange, sound-scapey, dub-wise, electro-licked tracksunderpinned by a good sense of humour.

J MAJIK – 'YOUR SOUND RMX'Quite simply, my favourite ever jungle track!So many close calls, but this is a cold, coldclassic with heart-racing amen cuts andchilling pads. All-round freezing cold beats!Early Dillinja, Metalheadz, Die and FullCycle all featured very heavily in myfavourites too... I could easily have done awhole top 10 just for jungle! I love the falsestart 'rewind' in this track too. Sick!

TECHNOTRONIC – 'PUMP UP THE JAM'Guaranteed to go off anywhere, anytime. Ihave to restrict myself to not playing thismore than once, maybe twice a year max- special occasions only really. Who couldresist its power? Who'd have thought theBelgians would have created one of thebiggest house anthems ever? A (slightly)guilty pleasure.

One of the originators of the dubstep sound and revered as a DJ from

Berlin to Bristol, Pinch is among bass-driven music’s most important

figures. With the Tectonic boss’s ‘Missing In Action’ retrospective

having just hit shops, Trap grabbed the chance to discover the ten

tracks that helped shape Pinch’s sound...

G O I N G I N D E E P

P i n c hBASIC CHANNEL – 'PHYLIPS TRAK 2'Basic Channel on tip-top form with this100% perfect track. 20 years on, it soundsfresher than any new release dub-technohitting shops these days. These guys werekings of their sound and able to makemusic that could transport you to a paralleluniverse in a hallucinogenic fashion.Seriously good music that will make you tripout with or without 'anything' to help youalong your way.

SQUAREPUSHER – 'IAMBIC 5 POETRY'This could have been one of manySquarepusher tracks included here, as I'vebeen into his music (the earlier stuffparticularly) in a big way for a long time.This is him on a gentler note than his moreusual psychotic-sonic-assault approach tothings - making for an almost lullaby typeexperience, stunningly executed.

ANOTHER ENDLESS GROOVE –'STONE COLD'My favourite garage track of all time! I usedto have a Heartless Crew recording takenfrom a 1997 Mission FM pirate radiosession and that's where I first heard this.It's one of the few garage tracks I boughton vinyl at the time, as I'd mainly committedmyself to jungle/D&B purchases due to lackof funds. Faultless!

RHYTHM & SOUND FT CORNELLCAMPBELL – 'KING IN MY EMPIRE'This track actually got me out of my routineof buying just jungle/D&B in the recordshops when I found it in early 2002. All of asudden I stopped buying D&B and openedmy ears to what else was going on in therecord shop - which led me to mix technowith garage and grime and ultimately startmy path to dubstep! A beautiful track withsuch a soulful vocal - it's impossible not tolove it. Meditation.

PETER GABRIEL – 'WE DOWHATWE'RETOLD (MILGRAM'S 37)'I love the 'So' album a bit too much... Idon't have anything else by Peter Gabriel inmy collection, but must confess to having asoft (very emo) spot for that album! Also,the production is awesome - there’s such agreat sound to it all. My girlfriend claims tohate Peter Gabriel, but when I played herthis one without saying who it was, she saidshe loved it! Small victories...

LOGISTICSHOSPITAL RECORDS

1. NU:LOGIC – ‘MORNING LIGHT’(HOSPITAL)2. HAZARD - ‘AIR GUITAR’(TRU PLAYAZ)3. NU:LOGIC – ‘TRIPPIN' IN SPACE’(HOSPITAL)4. NETSKY – ‘LOVE HAS GONE’(OTHER ECHOES RMX) (HOSPITAL)5. NU:TONE, LOGISTICS & S.P.Y -‘START AGAIN’ (HOSPITAL)6. TWO INCH PUNCH - ‘LOVE YOUUP’ (XAPHOON BNFB RMX) (PMR)7. WILKINSON - ‘DIRECTION’ (RAM))8. CALIBRE - ‘SWEET SOUND’(SIGNATURE)9. METRIK - ‘DRIFT’ ((VIPER))10. PHAROAHE MONCH - ‘SIMONSAYS’ (ETC! ETC! & BRILLZ RMX)(BOOTLEG)

CATZ N’ DOGZPETS RECORDINGS

1. TOMDEMAC– ‘LITTLE BITS THATMATTER’ (PETS RECORDINGS)2. MARIO &VIDIS FT BARBAROSSA –‘RE:STACKS’ (DOP RMX) (CDR)3. PACHANGA BOYS – ‘PACHANGAVOICE’ (KOMPAKT)4. SERGE &TYRELL – ‘HOUSECOUNTDOWN’ (CLONE)5. RACHEL ROW– ‘FOLLOWTHE STEP’(KINK BEATMIX (PETS RECORDINGS)6. SLG – ‘BLURRY’ (STUDIO BARNHUS)7. MOTORCITYSOUL – ‘SIRENS’(NIGHT DRIVE MUSIC)8. JUSTINMARTIN – ‘GHETTOS ANDGARDENS’ (CLAUDE VONSTROKE RMX)(DIRTYBIRD)9. PETETONG FT SYF – ‘DAWN’(JAYMO & ANDYGORGE RMX)(DEFECTED)10. SANO– ‘DISCO NOCHE’ (COMEME)

LX ONEWHEEL & DEAL

1. ICICLE – ‘CAFFEINE’ (DUB)2. SP:MC – ‘AIRLOCK’ (DUB)3. LX ONE – ‘LOSING CONTROL’(WHEEL & DEAL)4. GENETIX – ‘SEQUENCE’ (DUB)5. LX ONE & YOUNGSTA – ‘WELLTOKEN’ (DUB)6. BEN VERSE – ‘IMMIGRATION’(DUB)7. DISTANCE – ‘SEARCHING’ (DUB)8. LX ONE – ‘WHY’ (DUB)9. MATTY G & J:KENZO –‘SC CONNECTION’ (DUB)10. LX ONE – ‘ON MY OWN’(WHEEL & DEAL)

DARQ E FREAKERNU BRAND FLEXX1. TRINIDAD JAMES – ‘ALL GOLDEVERYTHING’ (DUB)2. LIL REESE FT RICK ROSS & DRAKE– ‘US’ (RMX) (MAYBACH MUSICGROUP)3. BIG H VS DARQ E FREAKER –‘HADES’ (LOGAN SAMA FREESTYLE)(DUB)4. FAT JOE FT A$AP ROCKY &FRENCH MONTANA – ‘YELLOWTAPE’(R4 SO VALID, LLC)5. TNGHT – ‘EASY EASY’(WARP RECORDS)6. XXYYXX – ‘ABOUT YOU’ (DUB)7. OBEY CITY – ‘NEVA KNEW’(BAAUER REMIX) (B.YRSLF DIVISION)8. C4 – ‘OFF TRACK’(ADAMANTIUM MUSIC)9. RUSTIE FT ALUNA GEORGE –‘AFTERLIGHT’ (WARP RECORDS)10. FREDO SANTANA FT CHIEF KEEF& LIL REESE – ‘MY LIL N*GGAS (LAYYOU DOWN)’ (DUB)

STARKEYCIVIL MUSIC

1. MR. MITCH – ‘BETHLEM ROYAL’(SLIT JOCKEY)2. KRUEGER & BOMBE – ‘HI BB’(SLIT JOCKEY)3. EOW FTVIRUS SYNDICATE &FOREIGN BEGGARS – ‘SON OF KICK’(SMOG)4. IGGYAZALEA– ‘DEMONS’(MIXTAPE)5. GODSPEED YOU BLACK EMPEROR– ‘WE DRIFT LIKEWORRIED FIRE’(CONSTELLATION)6. KANYEWEST & R KELLY – ‘TO THEWORLD’ (G.O.O.D MUSIC)7. STARKEY– ‘COMMAND’ (DS1 RMX)(CIVIL MUSIC)8. HOLYOTHER – ‘TENSE PAST’(TRI ANGLE)9. MYKKI BLANCO – ‘HAZE BOGGIE’(MIXTAPE)10. GILBERE FORTE – ‘PRAY’ (ANIGMA)

MARCUS NASTYRINSE FM

1. SUNDAY ROAST – ‘TAKE TWO’(WE R BASS)2. WOZ – ‘REACH’ (BLACK BUTTER)3. PANTHA – ‘LOVE TO THE MAXHATE TO THE MINIMAL’ (WE R BASS)4. KRYWOLF – ‘THE VERDICT PT2’(SHADOW CHILD)5. SHAY & SINISTA – ‘HAVIN ITLARGE’ (ANDY J & ST)6. KIDNAP KID – ‘VEHL’ (BLACKBUTTER)7. X5 DUBZ – ‘NASTY VIP’ (DUB)8. DJ NAUGHTY –‘DON DADDA’ (S.O.T.U)9. TRUCE – ‘IMPURE SOUL’ (S.O.T.U)10. TOM SHORTERZ –‘MAINLINE RMX’ (DUB)

I AM...Paleman, or Calum to most people.

YOU MAY ALREADY KNOW ME FOR...Not too much yet... But possibly for the tune I wrote with Zed Bias, ‘Furrball’,or my debut EP.

I’D DESCRIBE THE MUSIC I MAKE AS...Mainly just percussive beats, at the moment anyway...

WHEN I’M NOT WORKING, YOU’LL FIND ME...In uni for a few days, then mostly sitting around watching Peep Show.

WHEN I WAS YOUNGER, I DREAMED OF BEING...Anyone or anything that had a bow and arrow.

IF I WASN’T DOING MUSIC, I’D...Still be a barman!

THE MOST IMPORTANT THING IN THE WORLD TO ME IS...Friends, family and music.

MY MUSICAL GUILTY PLEASURE IS...Cyndi Lauper, ‘Time After Time’. If I ever have a breakdown, I'll weep to it onfull volume.

002266 TRAPMAGAZ INE .CO .UK

This issue’s Rise Up mixes come from

two more names we’re tipping for

MASSIVE things – Swamp81’s secret

weapon Paleman and probably the

finest female DJ in the capital right now,

Deviation’s Moxie...

Download the mixes from

www.trapmagazine.co.uk

YOU MAY BE SURPRISED TO KNOW THAT..I'm currently working towards a degree in jazz.

THE BEST ADVICE I’VE EVER HAD IS...Not too sure...I've been given a lot. I like ‘less is more’...

THREE WORDS THAT DESCRIBE MY MIX ARE…Dark. Percussive. Minimal.

IN 12 MONTH’S TIME...Hopefully, I'll be making better tunes!

@palemanuk

I Am...P A L E M A N

07


I Am...M O X I EI AM…

Moxie

YOU MAY ALREADY KNOW ME FOR...

DJing and running the London clubnight Deviation alongside Benji B.

I’D DESCRIBE THE MUSIC I PLAY AS...

A bit of everything really – I’m drawn to anything with soul. I’ll play anythingfrom Moodymann to Mala.

WHEN I’M NOT WORKING, YOU’LL FIND ME...

Running late at night with Run Dem Crew, or catching up with the best soapever made, aka Eastenders.

WHEN I WAS YOUNGER, I DREAMED OF BEING...

A fashion designer.

IF I WASN’T DOING MUSIC, I’D...

Be working in design.

THE MOST IMPORTANT THING IN THE WORLD TO ME IS...

My family and friends.

MY MUSICAL GUILTY PLEASURE IS...Mariah Carey – ‘Fantasy’.

YOU MAY BE SURPRISED TO KNOW THAT...I used to have a shaved head.

THE BEST ADVICE I’VE EVER HAD IS...Perception is everything.

THREE WORDS THAT DESCRIBE MY MIX…Sexytime. Smooth. Soulful.

IN 12 MONTH’S TIME...I hope to be traveling the world.

@alice_moxie

08


TRAP MIX003ADDISON GROOVE

For the third in our exclusive mixtapeseries, we are exceptionally proud to haveone of the most electrifying producers ofthe last couple of years, Addison Groove,at the controls.

One of dubstep’s original trailblazers underthe Headhunter name, the Bristol born-and-bred producer singlehandedly shookthe underground with his debut as AddisonGroove in 2010, ‘Foot Crab’. A juke and80s electro-inspired relentless groovecomprised solely of sounds from an 808drum machine and a single chopped vocal,‘Foot Crab’ heralded a new direction for theproducer that would ultimately lead to himsigning for Modeselektor’s 50 Weaponslabel and releasing his stunning debut LP‘Transistor Rhythm’ early this year.

Now working on his own label, Lost InTranslation, there’s clearly lots more yet tocome from Addison Groove, and with mixesfrom him especially rare, you canunderstand why we’re so excited to havehim build our next.

Featuring tracks from artists who havereleased, or have forthcoming, tracks onLost In Translation, including Hodge, SlyOne, Chebus & Organ Grinder, Astronomar,Kamikaze Space program and the Luke’sAnger side-project, Bebop & Rocksteady,this is a taste of what to expect from thelabel in the year to come.

You can download the mix now from ourwebsite, and we’ll leave it to the manhimself to explain the thinking behindthe mix...

“The mix represents what I’m currentlyplaying. I'm noticing when particular trackshit a crowd at the right time of the night,they can be explosive and these producershave been providing me with tunes thathave been essential to my DJ sets over thelast year. In order for me to release a tune,I need to play it out for at least threemonths and after such time, it still has tofeel and sound fresh - each of these tracksqualify. Dark, groovy and experimentalenough for it to be interesting, look out fora lot of this material forthcoming on LostIn Translation.”

>Download the mix now at www.trapmagazine.co.uk

“My favour i t ewre s t l e r was

U l t ima t eWarr i o r.I l ov ed h i s

en t ranc e mus i c . ”

e a t se v e r y

t h i n gWORDS: MMaatttt RRiicchheess

an Pierce has managed to grab his fair share of attention over the last couple of years. Whether it’s his slinky house numbers on Futureboogie,

or gigantic dirtybird releases, the Bristolian’s elasticbasslines and boisterous beats have found their wayinto the record bags of those from far beyond the edgesof simply house music.

Talking to Trap, the man behind Eats Everythingdiscusses his forthcoming Edible label, collaboratingwith Justin Martin and his very own entrance song…

TRAP_You’ve got an unusual connection with ‘Don’t YouWant Me’ by Felix… Is it something to do with wrestling?Ha. I was l istening to The Pet Shop Boys host a Radio 1 showback in 1992; I wasn't an avid l istener by any stretch of theimagination, but when they played ‘Don’t You Want Me’, whichwas a total ly underground record at the time, I immediatelystuck a cassette into my two-deck tape player and recorded thetrack. I guess it was my first real introduction to dance musicand my obsession began from there.

I was also really into wrestl ing back then and I’d use it as my‘entrance song’ when I was either wrestl ing against mates or apil low! My favourite wrestler was Ultimate Warrior. I loved hisentrance music.

TRAP_That wrestling dream is no doubt on the backburner now you’re releasing tunes on dirtybird… We hearyou’ve been working on a collaborative EP with label mateJustin Martin?Justin Martin is a hero of mine. His production ski l ls andattention to detai l are first class. And when we work together,we both bring something to the table the other doesn’t, so itworks amazingly well. However, the main thing with Justin andmyself is that, f irst and foremost, we l ike to have fun. As ithappens we’ve taken to call ing ourselves the San-Fran-BristolHouse Mafia… Only kidding.

We recently completed a three track EP which is due out onHypercolour in February next year. It’s packed with jungleinfluences, harps and banging basslines!

TRAP_We’re guessing you’d like to rival releases like thaton your own label. Have you found anyone who fits withinthe Edible imprint? This isn't a diss, but to be honest I haven't found any artiststhat are pushing the right buttons yet. I think most people play itsafe and make stuff that sounds current. So the tracks I’m senttend to sound same-y. I would l ike to hear someone with their

D balls out saying: "This is what I make, it's a bit fucked up, butit’s great!" I don't care whether they’re deep records, orbangers, they just need to be different. Hopefully, we can getEdible running next year.

TRAP_You sound a bit like your peer Claude VonStrokethere. Don’t you guys have a similar story, where yourother halves both gave you ‘one last year ’ tobreak-through?Well, after working in numerous jobs, I just wanted to give beinga DJ one more shot. My wife was really supportive and told meto go for it, so I went on the dole and worked hard. The keymoment came when, in the eleventh month of my year, I got‘Entrance Song’ signed to Pets Recordings.

To be honest, though, I sti l l don't think I’m at the point where Ican say that this ‘career’ wil l definitely work out. It's sti l l amassive work in progress and you have to keep pushing yourselfto make sure you stay at the top of the tree.

TRAP_Your edit of Adam F’s ‘Circles’ has been huge and isstill moving dancefloors. Do you send your edits out to theoriginal artists? I ’ve sent out both the Adam F and Basement Jaxx edits to theoriginal artists. They both approve, which is nice! I haven't hadanyone say they don't l ike an edit I’ve put together yet, althoughI am posit ive that there wil l be people that don't.

When you decide to remake or edit a big track, you have to beprepared for the trol ls to chastise you with cries of blasphemy.I just make them for fun and to make my sets stand out. Theywork on the dance-floor and that's al l that really matters to me.

TRAP_ So what else is in the pipeline for Eats Everything?Later this year, I’ve got an EP coming out on Futureboogie.This release is going to sound closer to the stuff I wrote duringmy ‘Coat Of Arms’ days, so obviously it’s going to sound a bitdeeper than my usual output.

I’m heading back to America for a few shows with Pete Tong inNovember, as well. Luckily last t ime I was there my music wentdown amazingly well. I can't wait to go back! I’m also lookingforward to playing at Bugged Out Weekender in January. It wil lbe great to see the Chemical Brothers, they are unreal! Wil l befun catching up with my good friends Catz N’ Dogz, too.

Eats Everything’s ‘Vertigo’ EP is out now on dirtybird,and you can catch him playing at January’s BuggedOut Weekender.

@eats_everything


L o n d o n

O B E Y S

s anyone that lives or works in East London willknow only too well, in October 2012 cult printdesigner and street artist Shepard Fairey was in

town. With an exhibition of his works on Brick Lane andan adjacent pop-up store for his ubiquitous Obeyclothing brand, Fairey and his team plastered the East Endwith his unmistakable ‘propaganda’ posters during histime in the capital.

Documenting Fairey’s time in the city was ASHES57, theLondon-based illustrator and photographer who is anintegral member of the SWAMP81 family and worked asFairey’s assistant in California a few years back. Trap isproud to present a selection of the photography ASHEStook, documenting everything from posteringwind-swept streets to the exhibition itself.

www.ashes57.comwww.obeygiant.com

A

WORDS: SSoopphhiiee TThhoommaass PHOTOS: DDaaii WWiilllliiaammss && WWiillll MMiittcchheellll

N a k e d Tr u t h s

en Westbeech is a name that means differentthings to different people. To some, he’s theStrictly Rhythm-signed house producer and

vocalist behind the 2010 album ‘There’s More To LifeThan This’, while to others he’s the man behind theBreach moniker and one of the most innovative andconsistent producers in the bass-driven underground.With club music currently awash with mediocre,130bpm ‘UK bass’ music, it’s refreshing to find a truemusician with a real ear for a groove, and a studiobursting with hardware ready to make it happen.

‘Fatherless’ was, without question, the track thatlaunched Westbeech’s Breach project. DistinctlyLondon sounding, its incessant, chopped-flute loopand nippy vocal jolts became one of the anthems oflate 2010. Since then, he’s dropped ‘You Won’t FindLove Again’, the synth-heavy introduction to hisfledgling Naked Naked imprint, plus his recentstripped-back collaborative EP with Midland.

With more much-hyped collaborations and new artistreleases looming, Breach and his Naked Naked babyare assembling a showcase of authentically creative UKdance music. While taking a snoop around hismemorabilia-laden studio, Trap caught up with theLondon-based producer to talk drum & bass, stayingoriginal and pushing the scene forward.

TRAP_Where did music making start for you? Weunderstand you produced drum & bass back in the dayalongside Clipz, aka Redlight?I started producing when I was 18 and yes, I started with drum& bass. Having heard early bootleg rave tapes and LTJBukem's remix of ‘Return to Atlant is’, I was instant ly hookedand mesmerised by the sound of the music and theatmosphere. The whist les and horns and crowd noise soundedamazing and I couldn't wait to go to a rave myself when Iturned 18.

A couple of years later, I moved to Bristol and having met Cl ipz(Redl ight as he's now known), I started making music with himand DJ Die. I met Roni Size and Krust and al l the producers I'dlooked up to for years! I was also producing for Bristol MCssuch as Sirplus and Buggsy, as wel l as singing on my ownstuff, which was secondary to becoming a DJ.

TRAP_How did your break as Ben Westbeech happen?I got signed to Brownswood (Gi l les Peterson’s label) by chanceafter he heard ‘So Good Today’ through a Saab 900 soundsystem in a f ield at Creamfields. Then, having made a BenWestbeech album, I started making house records after hearingOsunlade’s remix of ‘So Good Today’. I went on to make analbum with Str ict ly Rhythm, working with the l ikes of MotorCity Drum Ensemble, Henric Schwarz and Midland. Al l thewhi le, I had started working on the Breach al ias.

TRAP_So that trademark Breach bass/house blend wasintrinsic to your productions from very early on…Yeah, I’d made ‘Fatherless’ about a year before anyoneactual ly heard it. I was trying to bridge a gap between dubstepand house, as I was going to FWD at the t ime and was gett inginspired. This was about four years ago. So that's whenBreach started. As Breach, I’ve released on house imprintssuch as dirtybird, Pets Recordings and of course my own label,Naked Naked, al l of which share aff i l iat ion with bass. Evenwith the new Ben Westbeech album, I’m featur ing art ists suchas Bondax and Disclosure, so it al l crosses over real ly.

TRAP_How do you approach preparing for studio timeand how do you set about creating somethingtruly unique?

Studio t ime is about having fun but being focused at the sametime. With Breach, I just let go and concentrate on makingdance records that have energy and emotion. Melody isimportant to me, but also the core of the track - the drumsand the bass. I use a lot of analogue hardware, both synthsand outboard to create the sound of Breach. It started off as abit of fun and it st i l l is; which is what I've always wanted to doas a producer. I think you just have to go with what you feelinside and hope that i t works. I guess we are al l str iv ing to dothat in music: be original and push the scenes forward.

TRAP_What’s it like working to find (and create) greatmusic to represent Naked Naked? Are you overlypedantic?Well, the f irst few releases have come from me or mycol laborat ions with others, so I'm in control of the sound. Iworked on the first single, ‘You Won’t Find Love Again’ for avery long time and was very meticulous with it. However, whatI have forthcoming is from other art ists; the l ikes of Dusky,Lorca and Lyon Vynehal l . I 've gone and seen them and A&R’dthem to sl ight ly tai lor the tunes so they f i t within my idealsound. I know the sound I want, so I just give ideas on how tomake the tunes f i t a bit more. I’m real ly excited aboutreleasing other art ists’ music and creat ing a home for them.

TRAP_We’ve heard the third Naked Naked release iscoming from the Dark Sky boys. Can you discloseanything about the release and how it came about?Yes, that’s true; i t ’s a col laborat ion between me and Dark Skycal led ‘The Cl ick’ and it’s gaining a bit of buzz already. I haveknown those boys for a whi le and we talked about writ ingsome stuff for the new Ben Westbeech record, but I wanted tomake a banger with them so we decided to do a Breach vsDark Sky release. ‘The Cl ick’ came out of that and then wewrote something for the B-Side last week. I’m real ly lookingforward to it!

TRAP_Are you casting your sights strictly on the UK, ordo you search further afield to find the next release forthe label?I f I get any records from abroad that I real ly l ike, then I wouldconsider i t for sure, but r ight now the sound is coming fromthe UK. That's what Naked Naked is about r ight now. Makinga home for these art ists and creat ing a sound out ofa movement.

TRAP_Has it been difficult to build up a label in thecurrent industry climate?I th ink the industry is gett ing better and better! I t 's madepeople real ly think about what they’re releasing, especial ly onvinyl. Sales seem to be picking up and the digital market isbooming. Yes, we do have a lot against us, but i t ’s anamazingly rewarding job to do as you have to think hard aboutwhat you are doing and creat ing. I think it's a great t ime forthe industry, especial ly for dance music.

TRAP_So what’s the future for Naked Naked?Well, I hope to release great records on vinyl and digital . I amalso planning Naked Naked part ies, the f irst one happeningnext March, which is going to be in an amazing space inLondon, with a l ine-up including al l the people who areinvolved with or close associates of the label. I a lso plan to doart, pr ints and some clothing in the next two years andcol laborate with art ists, photographers and video art ists tocreate forward- thinking art to go with the music. I see it asan open-ended, creat ive label that wi l l expand organical ly andsupport i ts art ists ful ly.

Breach & Midland’s ‘101’/’Visionary’ EP is out now.Watch out for the new Ben Westbeech albumnext year.

@benwestbeech

B


“You have to go wi thwha t you f e e l i n s i d e and

hope i t work s . ”

H A K A

HAKA is the latest Bristol graffiti artist to feature in the pages of Trap. A solo show of his workhas just started at the city’s King Of Paint gallery, and is titled ‘Misspent Youth’. The exhibitionlooks at the sterotypes attached to graffiti culture through the mediums of brushes and acrylics.Like all good graff artists, though, HACKA is most at home outside with a spray can in his hand –here we present some images of his outdoor work, plus a sneak peak at some canvases from theexhibition. Get down to King Of Paint, right next to Bristol Coach Station, next time you’re inBristol to check the show.

wwwwww..kkooppaaiinnttggaalllleerryy..ccoomm


C H E B A

wwwwww..wweeaappoonnooffcchhooiicceeggaalllleerryy..ccoo..uukk

AVAILABLE EXCLUSIVELY AT:WWW.ASTERIONLONDON.COM

R O S E SG A B O Rs e e i n g s t a r s

Roses Gabor is the UK vocalist who’s spent the lastcouple of years collaborating with the underground’sbiggest names. Working with the likes of Redlight,Shy FX, SBTRKT, Gorillaz and Buraka Som Sistema,Roses made a name for herself without any help fromthe media or the mainstream, before November sawthe release of her debut solo single for Toddla T’sGirl’s Music label – ‘Stars’. A singer we’re sure we’llbe hearing plenty more from in 2013, Trap trackedRoses down for a quick interview...

TRAP_Hey Roses, for those who might not know you yet– who are you and what do you do?Hello! My name is Roses Gabor and I’m a singer-songwriter.

TRAP_Your debut solo single ‘Stars’ is an unusualsounding record – how would you describe it?Hmm, that’s a tough one, but I guess I’d call i t ‘future RnB’...

TRAP_That track was produced by Redlight, who youworked with before on ‘Stupid’ – how did you linkwith him?I met Redlight through my old manager, who asked a producerhe managed called Seij i to send me instrumentals. Seij i sent mea batch and in there was the instrumental for ‘Stupid’.I recorded on it in my brother’s room at my parents’ houseimmediately - it probably only took 20 minutes or something. Ivibed to it for a minute, then sent it to my manager whoconfirmed my thoughts that it was a banger! Haha. It was senton to Redlight who immediately called me saying let’s record itproperly... I went down to Bristol and the rest, as they say, ishistory, I guess.

TRAP_You’ve worked with some of the sickestproducers around - are you the clued-up fan ofunderground music that you appear?Funnily enough, they all chose me… SBTRKT messaged me onMySpace years ago. Shy FX released ‘Stupid’ on DSB, so ourintroduction came from that. And Buraka Som Sistema... I usedto see Kalaf out in London quite a bit and my DJ (Martelo)introduced us. I love what they do and they do me, so it wasonly a matter of time before we collaborated.

TRAP_What was the music that inspired you and thatyou grew up with?My background is ‘Music’. The constant has probably beenhip-hop, but it ranges from reggae to soca, zouk to Motown,RnB to electro... A bit of folk, pop, jungle... All sorts! I’ve gotno musical training, really. I played the cello for a bit but Iwas young, and it was too heavy!

TRAP_You’ve taken the underground route with yourcareer – was there ever the temptation to take adifferent, more commercial path?I ’ve always done what feels right and what I feel suits me... Iintend to stretch myself and do things a litt le out of my comfortzone, but everything I’ve done up to this point with regards tothe ‘underground’ has only happened because, for me, this iswhat feels right.

TRAP_Any plans for an album?I ’m really working on singles at the moment... An album isalways on my mind and I’d love for one to be ready for nextsummer, but I have no firm plans yet.

TRAP_Fashion is clearly very important to you. Whatbrands do you rate the highest?My favourite brand is KTZ. I’ve worn them at every opportunityfor years now. I used to go and sit in the shop for hours; I justlove everything about them. Because of this, they’ve becomereally good friends of mine - they’re doing amazingly well.Recently, I’ve noticed Kanye, Jay Z and other high profi lecelebs rocking the brand, which is great for them!

Mawi is another one that people are really starting to payattention to. I’m a sucker for gold and most of my favouritejewellery pieces are by them or MFP. There are loads of otherbrands I l ike, but just too many to mention!

TRAP_So, who will you be working with next?That’d be tel l ing! What I wil l say is that I’ve written some dopetracks with some dope folk...

TRAP_And finally, is your name really Gabor? Or do youjust own a lot of shoes?Both!

Catch Roses Gabor on 8 December at Annie MacPresents at Koko, London.

PHOTO: SSaattoosshhii MMiinnaakkaawwaa

B E N J IB

WORDS: OOllii MMaarr llooww PHOTOS: OOlllliiee GGrroovvee

H o p e l e s s l y d e v o t e d

t’s weird how things in l ife can come full circle. One ofthe most arresting and personal experiences I ever hadat Benji B’s midweek basement club night, Deviation,

was back in 2009 watching the Dutch producer Martynperform there around the time of his ‘Great Lengths’ album.It was one of those fortuitous, ‘I’ve lost everybody I camehere with but it doesn’t matter’ type of moments, whereyou’ve become just another person caught up in a total lycaptive audience.

Tonight, at Martyn’s return to the midweek session threeyears later; although the venue is a l itt le bit closer toShoreditch’s Overground station - and it’s drapes that arecocooning the sounds, rather than the exposed brick work ofGramaphone, the club’s former home on CommercialStreet - there’s a synergy between crowd and DJ that’sexactly the same. Admittedly, it’s always been that way, afact no doubt due to the close proximity of the two venues,but Deviation is the one club-night this writer has frequentedthat’s always managed to attract the committed and mostdevoted of fol lowers, those who’ve learned to trust thepowers in charge to educate them and keep their midweekadventures in music a l itt le bit secret.

Sitt ing in Benji’s East-London studio (one that’s actually gotan N in its postcode) on a bitter winter’s evening, we’re a farcry from the humid, noisy environments in which our pathsusually cross. It’s really quiet in here, clean and almostserene; an ordered haven that he busies himself t idying at acouple of points during our time together.

Flanking a wall loaded with the kind of big screen Appleproducts, turntables and other electronics you’d expect tosee in the hideout of one of BBC Radio 1’s most special ist ofDJs, he sits with poise. Visibly engaged he’s happy to lookback over the past five years he’s spent trying to replicatethe warmth and magic of his own early experiences in someof London’s most renowned dances.

“Club culture in its purest form is truly about being inspiredby a generation and taking the baton and carrying that on,”

Benji states animatedly, warming up to my rather haphazardl ine of questioning. “Every generation of people have tohave those educational kind of experiences when they go outand, for me, going out at that early age was not aboutgetting high or getting off with gir ls - they were interestingside notes - and really cool ones - but they weren’t thethings that drove me go to somewhere far off l ike The Fridgein Brixton on my own.

“I owe everything about my musicality and my taste in musicand my experience as a DJ to my city and the clubs that Ivisited throughout my life,” he agrees. “There’s no questionthat with my own club now, every single element of everysingle detai l is something I learnt in and owe to that time. It’ssomething that I’m not borrowing, but that I’m trying to keepalive. That’s important.”

The reasons that this writer, l ike many others, holds the ideaof Deviation in such regard aren’t really physical or malleablethings. Sure, the custom-prepped soundsystem instal led foreach session is a massive part of why the actual sets are soenjoyable, but it’s the idea of that l ikeminded tribal mental itythat Benji touches on so readily in conversation, the idea of aregular crowd that turns out week in week out, that really is amassive part of it. Developing that club family, people youco-exist with in those types of heightened situations, is anessential part of the euphoria of clubbing in general. Talkingto Benji, even though he admits his experiences were a whileago now, he sti l l understands the underbelly of clubbing asa lifestyle.

“The thing about Deviation is that it’s nothing to do withtrends,” he agrees, riff ing on my own recalled experiences atthe night, discussing landmark sets, the calibre of thesurprise guests and especial ly Martyn’s performance back in2009. “It’s about recognising a thread that runs througheveryone that’s committed to any form of art that hassubstance.

“Like, why did you have a different experience, l istening toMartyn in a basement with 200 people on a Wednesday night

The man beh ind BBC Rad io One ’ s mos t sp e c ia l i s t o f shows and Dev ia t i on , London ’ smos t e rud i t e o f c l ub -n igh t s , B en j i B s t r i d e s th e vanguard o f unde rground c lubmus i c w i th ev e r y th ing he doe s . Trap s en t O l i Mar low o f f t o Ben j i ’ s Eas t Londons tud io t o d ig de ep in s id e th e mind o f one o f t h e UK ’s t ru e mus i ca l v i s i onar i e s . . .

I


rather than anywhere else?” He offers with rhetoric.“The answer is simple: it’s because he’s playing in anenvironment that, at a very grass-roots level, is the purestplace where he can truly feel comfortable; a place he canreally be himself without any constraints. An environmentwhere the DJ feels powerful enough to have the confidenceto go wherever they want.”

Similarly to his special ist show on BBC Radio, Deviation is,f irst and foremost, an advocate of new and interesting music,but it’s never been its crux. Despite welcoming names suchas Flying Lotus, James Blake, Hudson Mohawke, Kode9, JoyOrbison, Dam Funk, Floating Points and their i lk, theambience of the evening is as much set by Benji’s warm-upsets as it is by the guests. Free from pretention or theconstraints of DJs playing 60-minute octane sets, Deviation’salways offered party goers a litt le bit of an upper hand, anaccess to a higher learning from DJs whose sets range infocus, pace and hue.

Even though it’s always felt l ike a litt le bit of an intimatesecret that managed to avoid the more transient of clubbers,Deviation has never been that exclusive or cl iquey in the waythat you might imagine a regular, connected Londoner’s clubto be. At its height, Deviation was booking unmissable actsmost months, setting them up perfectly for a core audiencehungry to learn and often it real ly did feel l ike Cheers - theplace where everyone knew your name.

“It’s not financial ly motivated,” Benji states in no uncertainterms. “When I started Deviation, the manifesto was verysimple. It had to be somewhere completely off the beatentrack, somewhere slightly out of people’s comfort zone. It’shard to think of it now, as people are comfortable in theShoreditch triangle, but where Gramaphone was, was out ofthe way. I wanted to do it on a Wednesday on purpose,because Wednesday is the hardest night of the week.I wanted to do it in a venue that had never been used foranything like that before and put somewhere new on themap. I wanted to bring my own soundsystem in every monthand also represent the kind of music I play on my showbecause if I can appreciate all these different styles and finda thread that runs throughout them, then there’s surely morethan one person who can appreciate that too.”

Considering the success and reach of Deviation in the lastyear (well attended bigger club nights in Paris, Berl in andNew York and the bigger warehouse events they’ve beenthrowing around London to mark their f ifth birthday) you getthe distinct impression that his original manifesto worked. Intalking to Benji at length, he’s very methodical about hisjustif ication and appropriation of it al l. Theorizing the affectand influence of his early formative experiences into theworld of late nights, l ie-ins and rum hangovers is al l well andgood, but there’s an immediacy and vital ity to Deviation’sparticular strain of incense-scented musical unity that’s prettyhard to ignore. You’re repeatedly welcomed by the samesmil ing faces and you’re free to go in and dance as hard asyou want. You can stand at the bar talking, handing out CDsand talking up projects to the slew of recognisable facesinside, or you can just be there, drinking gin all the way to aslump at closing time if you want. There’s no pressure.

“In much the same way as if I went to any of my favouriteclubs in the history of London, it’s essential ly about trust,” heponders, bringing his init ial point on London’s club heritageto an unintentional conclusion. “I don’t go there because thisDJ or that DJ is playing; I go there because it’s the night.”

Deviation has definitely cult ivated a ‘vibe’ that precedes it,no matter where it goes. Bookings aside, it’s probably themost important thing it has got going for it, something Benjiis incredibly aware of, lett ing it sl ip on more than oneoccasion that it’s the one thing he owes to his MC, Judah, to

Alice and Zainab (and the team around him) and all thosewho’ve helped create such a welcoming, knowledgeable andultimately addictive atmosphere.

“We recently did Deviation at Horst in Berl in and there wasan environment that really reminded me why I do what I do,”he offers, stif l ing a knowing smile. “Every DJ has thatexperience once in a blue moon, when you suddenlyremember why it is that you love doing what you do; why youhave the best job in the world and why you are the luckiestbastard in the world. But funnily enough, when DJingbecomes a profession, those moments don’t come aroundthat often. Hopefully, with Deviation, it is one of thosemoments [for the artists playing], which is why you can haveMartyn just smashing it out of the park, or why you haveKode9 or Floating Points or Joy Orbison come through andplay something completely deep. Because when you come inand look out at the crowd and you think ‘OK, this is areminder of why I do what I do’, it’s the best feeling inthe world!”

Standing at the bar in Concrete, Deviation’s current home inthe basement of the Tea Building, a few weeks before thisarticle goes to print; it’s obvious to note that the peopleinside the new space are a litt le different from the people Iwas screaming along with to the intro of Martyn’s ‘Vancouver’back when. The energy and intensity of the soundsystem isthe same - truth be told the layout of the room probably suitsit better - but rather than walking down the stairs and in on athrum of bodies jockeying for posit ion on the dancefloor asmuch as by the bar, where the conversing obstacles all standfirm, the whole venue feels calmer and a bit more clinical. It’sl ike, now the secret is well and truly out, there’s a new slewof people looking to Benji’s club night to try and find what Ifound so readily back in the halcyon days of Gramaphone.

Discussing the changes in approache to London promoters’programming that have yielded this newer, possibly moreinternet savvy, wide-eyed enthusiastic crowd there’s a l itt lebit of vitr iol in Benji’s voice; not towards the people attendingthe night, but towards the booking-by-numbers, name DJ,headliner culture in which he’s now having to operate.Deviation’s strength was always in the no-fri l ls, proper DJmanner that the guests were set up. There was a magic inthe way the warm-up sets worked with the room and took youthrough multiple styles, sounds and genres to the heavyhitters, and the way the guests were put completely at easeand encouraged to go on and play however they wanted.

“I felt in the last six to eight months of the club’s l ifespan,with the honourable exception of the club’s amazing fifthbirthday event, that [the vibe] has changed,” Benji agrees,honestly, accepting my points. “I feel l ike club culture at themoment is very much guest and name based, so that if youput Hudson Mohawke on, you’re gonna get a Hud Mo type ofcrowd; it’s just different. It’s funny because I’m a bit out ofstep with how big people are and how popular they’vebecome because I sti l l see them as people who are on thatDJ wavelength.

“I’m a great believer that clubs go in five year cycles,” hecontinues, cit ing examples from his own personal experienceswhere his cherished nights transcended more into a catch-allterm for a venue. “For me, it’s very important that the nextstep with the club is to take it to the next level and evolve it,but to take that original ethos with it. To take it up a notchand really expand, but keep that feeling of trust, so you’vegot that regular thing back of ‘It’s Deviation! I can’t missthis!’ I want to get that back…”

In person, Benji’s acutely aware of the motivation behind myquestioning, often reversing the roles and quizzing me on howI feel the club has changed, what I think about London’slandscape and certain DJs or artists. You get the sense that


“Onc e in a b lu e moon , you sudden l yr emember why you lov e do ing wha t you do ;

why you have th e b e s t j ob in th e wor ld . ”


however fumbling or short your answer is, he’s taking it onboard, processing the information and storing it for somelater use. Aside from digressing into a discussion on people’spredilection for experiencing a club-night online - hispuzzlement in digit iz ing something that is a very physicalthing and is subject to whimsy and personal experience is anoutlook I share - he’s noticeably keen to focus on theposit ive aspects of what he’s built and look to the future.

“What I want to do next is celebrate the fact that we’ve hadsome extremely memorable moments and touched people indifferent ways, and that our taste in booking is quite uniqueand has gone on to influence what’s possible on alarger scale.

“Next year the plan for Deviation is…, “ he pauses, sighing al itt le at the task ahead as he searches for the right phrase.“Deviation 6.0. Five years is the cut off. I feel that our clubnight has contributed something meaningful to London clubculture in that t ime and, even though it’s a small contributionand the club itself is small, in my experience, al l the verybest things have started from that scale.”

Referring more to the power and reputation that trademarkDeviation vibe brings, he continues: “We’ve createdsomething that you cannot buy, something you cannot inventor create overnight. It comes with time, investment and thelove for a project. It comes with experience and withdedication in giving back to a city that made you. As cornballand cheesy as that might sound, when you take a lot fromanything, I believe it’s your karmic responsibi l i ty to contributesomething back.”

Catch Benji B on BBC Radio One every Wednesdaynight, 2-4am, or anytime via BBC iPlayer.

With thanks to Danna Takako

“ I owe e v e r y th ing abou tmy mus i ca l i t y and my t a s t e

i n mus i c t o my c i t y. ”

Out now through One Love Books, Clarks In Jamaica explains how shoes made by a Quakerfirm from Somerset became the baddest footwear in The Caribbean. Referenced in reggaeand dancehall since the brand’s adaption by rastas and rudeboys in the 1960s, the bookfocuses on the artists who’ve worn and sung about Clarks over the years, through currentand historic photography, interviews and unseen archive material.

The work of Al Fingers, the London-based writer and graphic designer who is one of theforces behind the excellent ShimmyShimmy blog, and photographer Mark Read, Clarks InJamaica is available from all good bookshops now.

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R u s s i a n R e v o l u t i o n

ne of dance music’s most enduring genres, drum & bass has a history and evolutionary path that’s fascinating to reflect on. From

the London-only rudeboy swagger of jungle,through the dark cinematic styles of the late 90s,to the Millennial Brazillian invasion and thechart-troubling vocal anthems of recent years,this once uniquely British sound and itsdedicated fans have spent the last 20 yearsproving its doubters wrong at every turn.

D&B’s longevity is down to many factors, but thegenre’s growth far beyond the shores of the UKand its ability to reinvent itself over and over, arethe two obvious key drivers of its success. Andwhile the gradual globalisation of the scene wasalways inevitable, the emergence several yearsago of a movement in the unlikely location ofRussia had many scratching their heads. Firstcame the tales of 25,000-capacity raves; thencame the producers and their music...

Hailing from St Petersburg, Enei was already ahuge-name DJ in his native Russia when hereleased his debut production for Dutch labelFokuz in 2007. Mood heavy, stripped-back andbeautifully constructed, Enei’s music instantlyturned heads and he began on a path that wouldsee him sign tracks for a string of D&B’s mostcredible imprints. Releases for Metalheadz, MedSchool and CIA led to the Russian signing forKasra’s Critical Music, with the enormous‘Cracker’ instantly establishing Enei among thesound’s elite and helping him earn ‘BestNewcomer’ at 2011’s DNBA Awards.

2012 has seen things go from big to huge for Eneiin anticipation of the release of his debut album‘Machines’. With the album now out and receivingrapturous acclaim, Trap grabbed a few words withthe St Petersburg-based producer to find outmore about Russia, D&B and the future...

TRAP_For those who don’t know you, pleaseintroduce yourself...Hello! My name is Alexey, aka Enei, and I’m from St.Petersburg , Russia. I’ve been making drum & bassmusic for about 10 years now.

TRAP_Living in Russia, how did you first discoverdrum & bass?It was a long time ago! Years back, I discovered someold rave cassette packs, you know the ones... Loads ofold-school jump-up vibes, al l that sort of stuff. That wasit for me, I loved it! I could see how big this music wasand I wanted to get involved, so I got myself some gearand started to make my own beats.

O TRAP_What were the records and the artists thatinspired you to begin producing D&B?I t was guys l ike Kemal, Ed Rush & Optical and RamTri logy that really turned me on. Now I’m trying to put afew of those older vibes in my music and make it havemore of that f lavour; more jungly and more warmth.

TRAP_What’s the scene like in Russia? Where wouldyou say is the ‘capital’ for D&B there?Everyone from Moscow and St. Petersburg thinks theirown city is the capital, so in my opinion, the D&B capitalof Russia is St. Petersburg! To be honest, there are somany proper parties here and lots of promoters who aredoing it primari ly to make people happy, money comessecond, I think. In contrast, Moscow is total ly aboutmoney and the raves there are massive, but there aresome big parties in St. Petersburg, too.

TRAP_We have seen the HUGE Pirate Station raveson the internet – have you ever attended or playedat one? What are they like?Yeah those parties are really huge - about 15,000 peopleat least! There are huge sound systems, fire shows, gir lson sti lts, you know, just the usual!

TRAP_You, and many other Russian D&B producers,make darker, more serious D&B – is there a jump-upscene in Russia too?You’re right, in the past more Russians have loved theharder stuff l ike Noisia, the neurofunk and techy D&Bsound, as well as some more mainstream tunes. Butactually, now it’s al l changing a l itt le bit. New producersare starting to make more intel l igent and undergroundmusic and people seem to be really into it.

TRAP_Do you like other styles of D&B? Or do youstrictly prefer the darker, more thoughtful soundthat you produce?I l ike al l sorts, as long as it’s fresh and well made. I cango from the really hard stuff in my sets right through to al itt le more of the mainstream stuff. You always have tobe prepared for where you’re playing and the crowd.

TRAP_So you still live in Russia ? What do you lovemost and hate most about living there?Yeah I sti l l l ive in Russia and I real ly love my country; it’shard to explain why! I love our tradit ions, l ike our food forexample. But there’s a also lot of annoying things here;there are some strange people around and some weirdpolit ics. I don’t understand anything about polit ics anddon’t want to. Overal l though, the good definitelyoutstrips the bad!

TRAP_Do you have any plans to move to the UK ?Or anywhere else?I ’m thinking that maybe I’ l l move to the UK for a coupleof months with my gir lfr iend when my new tour begins,but I wouldn’t want to l ive there forever. Much as I love

“Fe ed your mind andsoone r o r la t e r i t ’ l l a l l

make s en s e . ”

Russia, I want to travel around the world while I’m sti l l youngand able... I guess I have plenty of time!

TRAP_The Album ‘Machines’ – tell us moreabout it...It’s al l about my vision of music and drum & bass!I love it dark, cinematic and mystical, but actually,there are a lot of different styles on the album -something for everyone. If you grab the CDyou can hear what I’m thinking about... I’mover the moon with it and already want tostart on the next one!

TRAP_You are releasing the albumon Critical – one of the mostrespected D&B labels – was it aneasy decision to sign exclusivelywith them?It was so easy, because I respectKasra [Crit ical boss] and hisvision so much. I’m sure that thelabel wil l continue grow withevery tune, and I’m confident inKasra’s business strategy. He’sgot a big brain in there... Haha.

TRAP_You achieved amassive thing – coming fromRussia and signing to one ofthe UK ’s best D&B labels.What advice would you giveto others chasing seeminglyimpossible dreams?You’ve just gotta never giveup and always do the rightthing that works for you,l isten to all types ofdifferent music and read alot of books! Feed yourmind and sooner or laterit’ l l al l make sense.

TRAP_Finally, what areyour plans for the future,both personally and withindrum & bass?I’m gonna lay down low for a while!I’ve just been on tour for the pastthree months, so I need to have arest and then I’l l start work again,maybe on another album... I’m full ofideas! Oh, and I’l l be touring againaround March or Apri l, so look outfor me!

‘Machines’ is out now on Critical Music.

@eneimusic TRAPMAGAZ INE .CO .UK 006677


REVIEWED BY: OLI GRANT, MATT RICHES, SEAN KELLY, JUSTIN IRIAJEN, JON COOK, SOPHIE THOMAS, DJ DUBBOY,

GWYN THOMAS DECHROUSTCHOFF, JERYL WILTON, SAM BATES.


FABRICLIVE 67Ben UFO(Fabric)

Hessle Audio figurehead Ben UFO stepsup to provide the latest, instalment of theFABRICLIVE mix series. The result is aninteresting yet accessible journey throughforward thinking house and techno, in al li ts various forms. Firmly shaking off the'bass music' cobwebs, the DJs’ DJ optsfor a gritty, more analogue sound.Starting the selection with DelroyEdwards’ t itanium tough drums and postapocalyptic synths is a real statement ofintent, and just when you thought thingscouldn't get any rougher, Pev & Kowton's'Raw Code' comes churning into the mix,pushing the energy and distortion levelswell into the red.

Tracks such as Tim Love Lee's percussiveoddity 'The Tortoise' and Juniper’s lush,Manc- house rol ler 'Jovian Planet' cutthrough the hiss and crackle l ike shards ofl ight from a storm cloud, offering somewell needed respite from the sometimesrelentless jack. Ben UFO is clearly a DJof the highest cal ibre with a real ear foran unusual blend, but it’s his deepappreciation and understanding of houseand techno that really shines through.Highly recommended.

M U S I C R E V I E W S

12T R A P M A G A Z I N E . C O . U K 007711 M U S I C R E V I E W S

BUSY SIGNAL‘Come Shock Out’ (Juke Boxx)

Busy is back! Out of jail and backin the booth, Busy's first effortsince release sees him team upwith the ever reliable Jukeboxxproductions for a sensationalcomeback. ‘Come Shock Out’ is aproper dancehall tune – a sickold-school riddim and Busy's ownunsurpassable flow bigging up hissupporters and fellow artists andasking one and all to come shockout inna the dance. This is primematerial.

DJ MADD‘The Life You Chose’(Black Box)

Rounding off a stel lar year ofplaying a signif icant role indefining the course of eyes-downdubstep, Black Box serve up alethal cut from DJ Madd, backedwith a remix courtesy of the don,Mr. Distance. Madd employs brutall icks of neurofunk styled synthmanipulation on the original, withDistance cranking up the intensityto breaking point on his version;imperious bass pressure!

PLANAS ‘The Long Game’(Exceptional)

I t ’s almost surpr is ing that ‘TheLong Game’ is Planas’s debutalbum. Whi le he’s undoubtedly abusy operator (musical dut iesinclude production for Gentleman’sDub Club, managing RankingRecords and numerous al iases),his inherent musical abi l i ty thatspans a range of discipl inesrender ‘The Long Game’ anexcit ing prospect, and is a factorclear ly apparent throughout thisrecord. The release melds Planas’varying creat ive direct ionstogether effort lessly, skipping fromsoulful cuts with vocal ist EdThomas to the rasping,adrenal ine-infused brute power ofthe eight-minute epic ‘Cry Wolf’,and the sinister, symphonicdynamics of Mr. Litv inekno, whi lemaintaining a dist inct narrat ivethread. There’s a real mix ofsynthesized and l iveinstrumentat ion, beats for thedancefloor ruckus plussoundtracks for more pensivemoods; a long overdue andcohesive debut from Planas.

KAHN ‘Dread’ / ‘Late NightBlues’ Ft Rider Shafique (Deep Medi)

I n d u c t i o n t o M a l a ’s D e e p M e d ir a n k s i s a f i t t i n g w a y t o c a pK a h n ’s s m o u l d e r i n g y e a r, a n d h ed r o p s s o m e s e r i o u s f i r e h e r e . ATo y a n - s a m p l i n g i n t r o p a v e s t h ew a y f o r t u m b l i n g s l a b s o fs u b - b a s s a n d r e d - e y e d , h a z ya t m o s p h e r i c s o n ‘ D r e a d ’ , w h i l et h e c r u s h i n g p u l s e s o f l o w - e n da p p l i e d b e n e a t h R i d e r S h a f i q u e ’sv o c a l s o n ‘ L a t e N i g h t B l u e s ’m a k e t h i s a c o n t e n d e r f o r t h eB r i s t o l b a s e d p r o d u c e r ’sw e i g h t e s t r e l e a s e s y e t .

PEDRO 123'Slush EP'(Get Some)

Newcomer Pedro 123 drops hisdebut release on Get SomeRecordings. 'Slush' swaggersalong, applying wide-ass,eski-style bass to a sparsepercussive framework, completewith clattering toms and lo-fiarpeggios. Things get even fi lthieron 'Jetpack joyride' with woozingreverse stabs reverberating fromwithin a dense mass of darked-outsubs and igloo synth. Two hybridcuts with a less than subtle nod toearly grime, polished up andpitched down for the currentdancefloor.

ENEI‘Machines’(Critical Music)

After working away on the fringesfor some years, Enei boldlyestablished himself within D&B lastyear with a bunch of hard hitting,beautifully deep releases. Thosereleases helped the Russianproducer’s profile grown, to theextent that he was entrusted by themighty Critical Music for only theirsecond ever LP from a solo artist.Enei made a name for himself withstomach-churning basslines andintricate percussion; and ‘Machines’showcases the St Petersburgnative’s exceptional flair for suchproductions, with the majority of thetracks here following his winningformula. There are glimpses ofalternative flavours, such as theKemo-voiced amen tearout 'Saligia'and soulful 'Runnin', both of whichare outstanding, but for thenon-D&B purists, ‘Machines’ couldprobably do with a few more trackslike these, to balance out thestripped back grooves the albumpredominantly offers.

VARIOUS ARTISTS‘Evolution EP Series 4’ (Shogun Audio)

This tune is taking over JAdancehalls r ight now. The energygod, Elephant Man, teams up withdancer-turned-deejay, Ding Dong,for a wicked combo that paystribute to bashment’s rich tradit ionof famous dancers and theirtrademark moves, while alsointroducing us to their brand newdance... Do the Crocodile! Watchout for the official video.Bashment at its energy-driven best!

12T R A P M A G A Z I N E . C O . U K 007733 M U S I C R E V I E W S

FALTY DL‘Hardcourage’(Ninja Tune)

The third album from New York’sDrew Lustman entails aprogressive step into the tasteful,big-room territory of Four Tet andJamie XX, with great success, if afew too many pleasantries. Thesesongs are more roundlyaccomplished and digestible thanthe producer's earlier releases, interms of cohesion and aesthetic.This rings with an almostbittersweet note, because it lacksthe sexy dirt of FaltyDL's moreroughly-arranged early works, butthis is a common grievance whenan artist finds that varnish they’vebeen looking for. There’s a certainamount of borrowing going onwithin the woozy atmospherics andMartian-sounding synth-work –lead single ‘Straight & Arrowseems intent on aping thegleaming crescendos of FloatingPoints – you’ve just got to enjoy itand let the man work, though; it’sbeautiful music.

DARK SKY'Myriam’ EP(50 Weapons)

Dark Sky are the latest bass musicprotagonists to dip their toe intotechno’s icy waters. The 'MyriamEP' for Modeselektors 50 Weaponsimprint see's them dim the lightsand slow things down a little. Eerieatmospherics give way to a ruggedgroove on 'Shades', whilst 'ShutterSpeed' comes across like DJ Oddzon a load of downers. 'Hequon'continues in the same vein,reducing the sounds even further toleave a layer of crusty drums.

TOM DEMAC ‘Little Bits That Matter’[Pets Recordings]

Tom Demac has gone through ahuge evo lut ion in sound over thelast 12 months. On Hyperco loura lone he went f rom thelow-s lung jack of ‘Di r ty Honey’to the heavy, menacing texturesof ‘Cr i t ica l Distance Part 2’ . Inh is la test EP these wor lds cometogether. Lead t rack, ‘L i t t le Bi tsThat Matter ’ b lends th ick moodswi th etherea l voca ls whi ls t‘Tanners’ layers infect ious d iscohooks wi th a mass ive percuss ivebass- l ine. Another gem f romPets Record ings.

VARIOUS ARTISTS ‘Critical X’(Critical Music)

Any aspiring drum & bass labelboss would do well to take note ofCritical Record's path to dominationover the last decade. In that time,head honcho Kasra has establishedthe imprint as a reference point forimaginative, credible andconsistently deep 174bpm music.The labels impeccable ear forunbounded quality has seen themaccumulate an enviable backcatalogue. This anthologyshowcases some of their very bestreleases, with seminal tracksappearing from the mighty Calibreand Breakage, sitting proudlyalongside more recent efforts fromthe likes of Icicle, Rockwell andBladerunner. The album isessentially a celebration ofCritical's integrity and perseverancein enriching an arguably saturatedgenre with slices of timelessbrilliance. A label that deserves allthe recognition it gets.

PLASTICIAN‘Dubstep Allstars Vol.10’(Tempa)

Plastician, one of the pioneers ofthe dubstep sound, gets a longoverdue invitation to mix the latestin the seminal ‘Dubstep Allstars’series from stalwart imprintTempa. Much more than just acompilation, the early instalmentsin the ‘Allstars’ series help defineand cohesively unify the thenemerging dubstep sound, so anyaddition to its i l lustrious ranks hasthe weight of history pressingdown on it. With a pedigree asrich as his, the task clearly hasn’tdaunted Plastician, and this is oneof the finest collections of ‘real’dubstep we’ve heard in a long,long time. Compil ing 21 moodand emotion-packed tracks fromthe l ikes of J:Kenzo, Commodoand Jay Drop, and gilding thewhole thing with vocalcontributions from Doctor, MerkyAce and Footsie, ‘Allstars Vol.10’ deftly proves that the goodstuff is sti l l out there.

P JAM‘Oxygen’ EP(Beat Camp)

Following his recent explosivecollaboration with Big Narstie,grime veteran P Jam returns with asolo EP for his Beat Camp imprint.From the carnival infused, grimemeets UK funky vibes of ‘BubbleBum’, to the low-fi synths and8-Bar styles of ‘Quantum’, throughto the solemn funk-infused ‘SkyBoy’ that comes to life with anexplosion of drums. This is aninteresting, experimental andvaluable release. Check it.

007744 T R A P M A G A Z I N E . C O . U K12M U S I C R E V I E W S

JUSTIN MARTIN ‘Ghettos & GardensRemixes Volume 2(Dirtybird)

So-good-they-remixed it twice,Justin Martin’s ‘Ghettos andGardens’ LP has been a bighighlight for the high-flyingDirtybird crew. Staying true to theirrecent form, Claude VonStroke andEats Everything’s respective garagetwists and meaty basslines addsome weight to the tough buttender cuts. However, surprisescome from Leroy Peppers andShadow Child whose high-octanereworks of ‘Riding Spaceships’ and‘Don’t Go’ tap into Justin’s love forjungle and D&B.

RUFF SQWAD ‘White Label Classics’ (No Hats, No Hoods)

A decade ago, before grime’s starseven registered on the popconsciousness, a group of kids fromBow created some of the mostoriginal underground bass musicever made. Tinchy Stryder’s crewRuff Sqwad, more specifically theproducers Rapid and Dirty Danger,experimented with square-wave-filled music that was simultaneouslycold and devastatingly simple. Thisis a CD of 22 pirate radioinstrumental grime anthems - adocument of to the sound’s historyand testament to what can beachieved with limited productionresources.

PINCH‘MIA 2006 – 2010’ (Tectonic)

The dubstep original known asPinch sheds l ight on some of thelesser known gems from hisclassic-strewn discography in thiswonderful ly diverse retrospectivecompilation of works releasedbetween 2006 and 2010. Therelevance and sonic longevity ofthese tracks are not to beunderestimated; ‘Chamber Dub’hits harder and lower than thevast majority dark halfstep that’semerged this year, whilesmoked-out dub flavours shinethrough on ‘Rise Up’, and theweight of the ethereal Bristolclassic ‘136 Trek’ takes us back.Heaving basslines dominatetracks l ike ‘Qawwali VIP’ and‘Motion Sickness’ and sti l l feel soraw, glowing with warmth and thatunpredictable, organical lyconstructed feel. It’s a timelyreminder of Pinch’s prowess onthe buttons, and an essentialcol lection from one of the UKunderground’s great luminaries.

ASHLEY BEEDLE‘Yardism’ Vol.1 (Girls Music)

‘Yardism’ see’s dance music andelectronica legend Ashley Beedledebut for Toddla T’s ‘Gir ls Music’imprint. Appropriately for arelease on Toddla’s label, this isan EP grounded in soundsystemculture. However, this is by nopastiche of Jamaican music; at itscore it is sol id house music,wearing a wide range ofinfluences on its sleeve. There’stalk of more from this project and,with this release in mind, that’s anexcit ing prospect!

VARIOUS ARTISTS‘Afrobeats The HitsVol.1’ (Green World Media)

An excit ing fusion of a range ofWest Afr ican sounds from Ghanaand Nigera, in jected with globalinf luences such as hip-hop,dancehal l and funky, afrobeatshas been one of the hottestsounds in UK clubs over the last18 months. Offer ing an infect iousand uniquely Afr icaninterpretat ion, the sound owes asmuch to the global is ing nature ofthe internet as i t does to distantrelat ives in the US or UK.Having taking big-city ‘urban’raves by storm, 2013 could wel lbe the year that afrobeats seepsinto the wider dance musicmainstream. This compi lat ion is aworthy introduct ion to themovement, highl ight ing many ofthe main players, anddemonstrat ing a buoyant andvibrant sound.

STYLO G‘Press Up’ (So Shifty)

Stylo G, the UK's top bashmentdeejay, teams up with Germany'sSo Shifty crew to deliver anawesome throwback dancehallanthem that should be every bit aspopular as ‘Call Mi A Yardie’.Stylo rides a wicked upbeat t inpanriddim with slackness lyricsdelivered in his own inimitablestyle. Expect this to run dancesover the next few months.Wuk up time!

WILKINSON ‘Need To Know ’ /‘Direction’(Ram)

Over the past couple of years,Wilkinson has laid down thefoundations for big things to comein 2013. The forthcoming single'Need To Know' neatly blendsjungle undertones and a rol l ingdancefloor lead, al l wrapped by asing-a-long hook. 'Direction' goesdown a more grimey route, withgrinding bass and a rol l ing drop -a real head-nodder of a B-side!

ASHES57 81 Shoreditch High Street. www.ashes57.com

007766 T R A P M AG A Z I N E . C O . U K

ASSASSIN’S CREED III: LIBERATION

Ubisoft Montreal (PS Vita)Out Now

Now available in travel size! Assassin’sCreed III: Liberation isn’t a merehandheld mini-me shadow of the big-boyconsole game, but actually afully-fledged Assassin’s Creed in its ownright. Set in New Orleans during theAmerican Revolution, right alongsideAssassin’s Creed III, the Vita versioncomes equipped with a femaleprotagonist and a very PS Vita way ofdoing things. Casual gamers may findthemselves a little frustrated with thesmall screen experience, but Liberationlooks stunning and there’s plenty herefor fans to get into on the move.

GEARS OF WAR: JUDGEMENT

Microsoft (Xbox360)Out March 2013

Looking ahead to one of 2013’s mostanticipated titles, Gears of War:Judgement promises to be “the mostintense and challenging Gears of Wargame yet.” Fans of the series can jumpinto a hefty campaign with three friends(via XboxLive), which focuses on KiloSquad as they attempt to save thebesieged city of Halvo Bay. Once again,this looks to be a furious piece ofshoot-em-up action, backed up with arich sci-fi warzone storyline (Microsoftreally does know how to make them!)we can’t wait to play this.

ALL-STARS BATTLE ROYALE

Sony (PS3, PS Vita)Out Now

Ever wondered what computer gamescharacters do on their day off? Do theyenjoy long walks in the park, socialisingwith friends, or perhaps battering sevenshades of something out of each other ina brutal fight-to-the-death scenario?PlayStation All-Stars Battle Royale seemsto think it’s the latter, enlisting some ofthe gaming world’s best knownpersonalities to duke it out for yourentertainment. Everyone from LittleBigPlanet’s Sackboy to BioShock’s BigDaddy is here, with a fresh twist on thefighting game mechanic that looks set tomake plenty of thumbs sore this winter.

12G A M E S R E V I E W S+

Ubisoft’s newest incarnation of theAssassin’s Creed series is undoubtedly itsbest. The latest version sees Ezio Auditoreda Firenze and Renaissance Europe left inthe past, as you’re transported into thebody of Connor Kenway during theAmerican Revolution. While Connor is analtogether more grumpy leading man thanEzio, he’s also learned a few new tricks andthe game mechanics are set up perfectly togive you the best experience yet.

The scenery is glorious and the storytelling isimpeccable, but it’s the gameplay that’s reallygets a boost. While previous instalments haveoccasionally felt sluggish or repetitive,Assassin’s Creed III adds enough fluentupgrades to ensure fans will love it, whilenewcomers or naysayers would be doingthemselves a disservice if they don’t give it atry. Incredibly accomplished and even moreepic than ever.

GAMESREVIEWSWITH CUTLINE

ASSASSIN’SCREED IIIUBISOFT MONTREAL(PC, PS3, XBOX360) OUT NOW

12GAM ES R EV I EWS+TRAPMAGAZ INE .CO .UK 007777

HALO 4MICROSOFT (XBOX360)

Out Now

If there’s one thing that’s bound to get fansof a blockbuster nervous, it’s a sequel.But while Hollywood churns out flop aftersequential flop for some of its biggestfranchises, the games industry tends to farea little better. So, while mill ions of Halo fansanxiously awaited 343 Industries new takeon the series, they can all breathe a heavysigh of relief: it’s good. It’s very good.

Master Chief and Cortana return for the startof an all-new chapter in Halo history, withfresh enemies, new weapons and one of themost beautiful backdrops we’ve ever seen ina computer game. Meanwhile, the multi-player has had an upgrade withupdated maps, a Call of Duty-styleprogression and a little balancing-out of thefiner aspects. Don’t be fooled though, thenew gloss adds extra sheen to animpeccable Halo experience and fans of thegame will not be disappointed.

CALL OF DUTY: BLACK OPS II

Activision (PS3, PC, Xbox360, Wii U)Out Now

In the first half hour of Black Ops II,you’re subjected to burning children, evildictators, a boat chase that culminateswith firing rockets at a helicopter gunshipand a rescue mission requiring stealth andthe laying of animal traps. Black Ops II,we can safely say, paints a very darkpicture of the year 2025. The story isoverblown, the action is CODthrough-and-through and the game hasreceived some tweaks that enable a littlemore freedom to the development.Essentially it’s a Call of Duty game –the fans will love it.

THE UNFINISHED SWAN

Sony (PS3)Out Now

The Unfinished Swan is, without doubt,one of the most intriguing games we’veplayed in some time. Starting out with acompletely white screen, we almostthought there was something wrong withthe game until we started to throw blobsof black paint around, uncovering aworld beneath the white. With astorybook narrative, you’d be forgivenfor thinking this game is just for kids,but push through that and you’ll find agenuinely engaging game with cleverpuzzles and an increasinglyinteresting plotline.

TOP5 XMAS GIFTSPS VitaIf you haven’t already got one, ask for one!Hitman: Absolution

Become the ultimate stealthy killer this Christmas.Wonderbook: Book of SpellsCool gaming tech to buy your younger sibling.Borderlands 2It’s been out for three months and it’s still

topping the Metacritic charts.iPhone 5Well it does have a bigger screen forextra touchy feely gameplay.

STEP ONE: FINDING YOUR SOUND

Find a bass sound. In this example, I’ve used an 808 kicksample, as it’s a pretty standard sound that everyone has. Onthe other hand, there are thousands of bass samples like this,so finding a clean and weighty one to start with usually makesall the difference in the long run.

The same thing applies with synths - some softsynths soundpretty weak and thin, but using one with a warm heavy sound(I like Spectrasonics, Korg or a Virus) is essential to avoid alame bass tone.

S T U D I OS E S S I O N STrap welcomes back one of dancemusic’s finest producers andengineers for a second exclusiveproduction lesson. Whatever genreyou produce, read on for Break’sguide on how to make thatall-important bass...

SESSION TWO:MAKING FAT BASSIt's not easy to sum this wholesubject up in under 1000words, but here are a fewdifferent techniques that canbe applied or combinedtogether to get you someextra-heavy bass. Synths,samples, and bass guitar canall be used, and a lot of thebass production techniquescan be applied to any ofthese sources.

Bass is only as fat as therelationship with otherelements in the mix lets it be,so here are a few ways toimprove that balance.

STEP TWO: LAYERING

Layering the bass can be a useful way to add tone, movementand crunch to your sound. Copying the channel, or sending itto a Bus/Aux track, gives you the flexibility to play with thislayer, without affecting the original. Using an Amp or Distortionunit will instantly give you noticeable results.

I've used Softube's Vintage Amp Room; it even sounds wickedon the standard preset. An EQ or Filter before or after this canbe swept or shelved to give movement or separation from theoriginal sub layer. If you do this for real with a guitar pedal, orby driving a mixing desk etc, it usually sounds even cooler, andless computery.

#2 wi th BREAK

STEP THREE: ADD EFFECTS

Other effects can be added to this distortion channel, such asreverb, or additional busses can be set up with other effects,such as a Bass Enhancer or Stereo Widening to add width tothe top layer of your bass.

If you're using a synth, these effects can also be achieved byaltering different parameters on various copies of the samesynth, such as Detuning or Drive. This will fatten and widenyour bass sound. If you move the filter on the tops on onesynth/sampler and keep the other on sub only, you’ll have themovement and sub together, which sounds fat. I've put a touchof Pultec low end on the original sub for a bit more warmth.

STEP FIVE: GROUP ELEMENTS

All the bass elements can now be grouped together onto onefader. This aids mixing, as now all the bass can be muted withone click. Also, additional plug-ins can be added to glue all thebass together.

I’ve used a FabFilterProQ to cut the very low flappy subs, anApi 560 EQ to shape the overall bass frequencies, and the C6multiband compressor on the mastering settings with a fewtweaks can be good for controlling your bass group. I've put aFabFilterPro L on the end to squeeze as much level aspossible out of the bass group.

I'm trying to get the bass to a level where it's very bassy andheavy, but just under the point where it farts or flaps. Goingback and rebalancing all these faders is usually necessary toget the best blend of sub, mid and tops from the layers.

STEP FOUR: SIDECHAINING

I've used a simple kick and snare to give us some context tomix to. This beat channel can be used as a sidechain / duckingtrigger. I've sent the beat channel to Bus2 on the mixer, andthen disabled the output so there’s signal but no sound. This isthen activated as the external sidechain source for a FabFilterPro C compressor that I’ve used on the bass.

Any compressor can be used for this step, as long as it hasexternal sidechain capabilities. This will then duck the level ofthe bass whenever the drums hit, which gives the illusion ofmore level on both simultaneously. This will give you a pumpingsound, which can be great, but also horrible if overdone;tweaking the attack and release times will get the bassgrooving with your drums.

STEP SIX: BALANCE AND MONITORING

For me, fat bass is only as fat as the rest of the tune it sits in,unless it’s just bass on its own. So really, half the problem isthe rest of the tune that isn't bass.

The more bass you add the weaker the midrange becomes, soa lot of the trick with fat bass is having drums that can handlecompeting with it. Good monitoring makes all the difference;I've struggled with bad rooms and speakers for years. Gettingyour monitoring as good as you can makes way moredifference than any plug-in or special techniques.

NEXT ISSUE: FINAL MASTERS


After a 2012 that has seen Dig i ta l Soundboyconsol idat ing i ts pos i t ion as one of the key dr iv ingforces for the UK bass-dr iven underground, Shy FXand co are ce lebrat ing wi th a very spec ia l Chr is tmasparty on Thursday 20 December at East London’sBas ing House.

Soundboy big dogs l ike Breakage, B Tra i ts andDismant le wi l l a l l be p lay ing, p lus of course thebossman himsel f Shy FX and a whole host of spec ia lguests, wi th MCs GQ, Youngman, Dynamite andID. Capaci ty is l imi ted to just 300 people and, inkeeping wi th the fest ive sp i r i t , 150 are being givenaway for f ree onl ine. Make sure you register by10am on 19 December i f you fancy at tend ing.

bbaassssllaacceedd..ccoomm//ddssbbxxmmaass

Now estab l ished as an annual feature of the fest iveper iod for those l i v ing or lef t beh ind in the cap i ta l overChr is tmas, th is year ’s R inse FWD>> box ing day par tyat Fabr ic comes good wi th another r id icu lous l ine-upthat on ly the scene-shaping rad io stat ion andlegendary c lub n ight cou ld manage.

With near ly a l l the DJs that p lay on Rinse inat tendance, every sty le of underground bass-musicwi l l be on the menu, p layed by everyone f rom Zinc andOneman to Mark Radford, The Heatwave, J:Kenzo andMarcus Nasty. I f you’re in London over Chr is tmas andyou’re not too dead-out by Box ing Day, th is is you.

ffaabbrriicclloonnddoonn..ccoomm

DECEMBER 2012

008800 T R A P M AG A Z I N E . C O . U K12B A S S P O I N T S C L U B L I S T I N G SCOMPILED BY: IAIN BLACKBURN

FRIDAY 7 DECEMBER

10 YEARS OF TERRORRHYTHM @ CABLE, LONDONPlast ic ian, Tempa T, St inkahbel l B2B Psy:am, Om Uni t ,Cr issy Cr iss, MRK1, Macabre Uni t .

DOLLOP@ STEALTH & RESCUE ROOMS, NOTTINGHAMLoefah, Scuba, Jackmaster, Blawan, Krystal Klear + more.

SATURDAY 8 DECEMBER

NUMBERS WAREHOUSE PARTY@ OVAL SPACE, LONDONSix secret guests over e ight hours.

HOSPITALITY BRIGHTON@ DIGITAL, BRIGHTONHigh Contrast , S.P.Y, Nu-Tone, Stanza, Wrec, A.D.

BUNGA BUNGA@ WAREHOUSE LOCATION TBA, SHEFFIELDOneman, Mele, Pred i tah + more.

FRIDAY 14 DECEMBER

RAM RECORDS XMAS SPECIAL@ FABRIC, LONDONAndy C, Chase & Status, Calyx & Teebee, Loadstar,Break + loads more.

SATURDAY 15 DECEMBER

NIGHT SLUGS ALLSTARS WINTER RAVE@ XOYO, LONDONBok Bok, Gi r l Uni t , Jam Ci ty, L-v is 1990 + more.

SHADOW CITY@ THE RAINBOW WAREHOUSE, BIRMINGHAM Monki , Karma Kid + more.

IN:MOTION PRESENTS: TOKYO DUB@ MOTION, BRISTOLJah Shaka Sound System, The Bug Feat F lowdan &Daddy Freddy, Soom T, Krypt ic Minds + more.

THURSDAY 20 DECEMBER

FWD>>@ PLASTIC PEOPLE, LONDONMele, Scratcha DVA, Foamo, XXXY.


BORN ELECTRIC@ ELECTRIC BRIXTON, LONDONJames Zabiela, DJ T., Pangaea, Glimpse, Gangcolours, + more.


FACE WAREHOUSE RAVE@ THE RAINBOW WAREHOUSE, BIRMINGHAMMosca, Dusky, The Mart inez Brothers, Laura Jones.

D I G I T A L S O U N D B O YX M A S P A R T Y

T H U R S D A Y 2 0 D E C E M B E R

B A S I N G H O U S E , L O N D O N

R I N S E v s F W D > > W E D N E S D A Y 2 6 D E C E M B E R

F A B R I C , L O N D O N

New Year’s Eve is e i ther the greatest n ight you’ l lhave out a l l year, or the most depress ing, d i ff icu l tand disappoint ing. Al l that hype often ends indef la t ion, but i f you’re look ing for a guaranteedparty wi thout destroy ing your bank balance, thenSwamp 81’s New Year’s bash looks l ike the one.

Any reader of th is magaz ine wi l l know that Swamphas bas ica l ly bossed dance music in the last 18months, wi th Loefah and his carefu l ly constructedstab le dominat ing raves and ai rwaves wi th the i r DJsets and product ions. I f you know about Swamp, wedon’t need to say anyth ing more. . . I f you don’t , wel l ,you better get yourse l f down to th is one.

ffaacceebbooookk..ccoomm//rreegguullaattee..llddnn

For all our West Country brethren, or for those looking for aNew Year’s knees-up elsewhere, Bristol’s In:Motion looks astrong option to see out 2012. Celebrating thesuccess of this year’s series, the club has booked a massivein-house party to round up the year, and invited one ofBristol’s most respected and legendary brands to host thesecond warehouse – Pinch’s Subloaded.

Expect Sub Focus, Plastician, Caspa and Scratch Pervertsin the main room, while Loefah, Boddika, and Pinch destroythe second space and Mele, Marcus Nasty and Marteloduppy up the tunnel. If house is more your thing, check theShapes NYD party here the following day.

bbrriissttoolliinnmmoottiioonn..ccoomm

NYE & JANUARY 2013

T R A P M AG A Z I N E . C O . U K 008811 12B A S S P O I N T S C L U B L I S T I N G S

I N : M O T I O N M O N D A Y 3 1 D E C E M B E R

M O T I O N , B R I S T O L

MONDAY 31 DECEMBER

CRITICAL SOUND NYE@ SECRET WAREHOUSE LOCATION, LONDON

Rockwel l , Kasra, Cyant i f ic , Jubei b2b Vic ious Ci rc le,

MC GQ + more.

DOLLOP NYE@STEALTH & RESCUE ROOMS, NOTTINGHAM

Jul io Bashmore, Joy Orb ison, Miguel Campbel l , One-

man, Wai fs & Strays, DJ EZ, Mele.

THE ISLAND NYE@ OLD FIRESTATION, BRISTOLSubmot ion Orchestra, Zed Bias, Dr Meaker (L ive) ,Congo Natty, Laminate Radio + loads more.

AUDIO PRESENTS: TROPICAL NYEALLNIGHTER@ AUDIO, BRIGHTON

Eats Everyth ing, Hux ley, Dusky, Maxx i Soundsystem +

more.

SUPERCHARGED@ CONCORDE2, BRIGHTON

Shy FX, Wookie, High Rankin + more

TUESDAY 1 JANUARY

WHP CLOSING PARTY@ WHP, MANCHESTER

Jamie Jones, Seth Trox ler, Derr ick Carter, Four Tet (DJ

set) , Ju l io Bashmore & Joy Orb ison (b2b).

THE HYDRA PRESENT: ELECTRICMINDS NYD PARTY@ SECRET LOCATION, LONDON

Henrik Schwarz, Mosca, Shed, Wil l Saul, Midland, Dusky.

FRIDAY 4 JANUARY

IDIOSYNPHONIC @ CABLE, LONDON

Wilk inson, N Type, Reso, Break B2B DJ Die,

Dimens ion.

FRIDAY 11 JANUARY

BEN UFO FABRICLIVE CD LAUNCH@ FABRIC, LONDON

Ben UFO, Pearson Sound, Pangaea, XXXY, Pevere l is t ,

Opt imo + more.

SATURDAY 12 JANUARY

WE FEAR SILENCE PRESENTS: BLACKOUT@ CABLE, LONDON

Hazard, Black Sun Empire, Phace, Opt ica l , Te lek ines is ,

Mindscape, Fore ign Concept.

FRIDAY 19 JANUARY

XOYO PRESENTS:@XOYO, LONDON

Jackmaster, Bondax, T Wi l l iams, MS Dynamite + more.

R E G U L A T E P R E S E N T S :

S W A M P 8 1 X N Y E M O N D A Y 3 1 D E C E M B E R

L I G H T B O X , L O N D O N

G ET T RA P D E L I V ER ED ST RA I G H TTO YO U R D O O R !

WWW .T RA PMAGAZ I N E . C O . U K/S U B S C R I B E

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