trap magazine issue 006

EV ERY BASS C OV ER EDMUS I C I FASH I O N I A RT

A L I X P ER E Z & RO C KWEL L

NOVEMBER | DECEMBER 2011

THE SHOGUN AUDIO DUO TALKWAY OF THE WARRIOR

B O D D I KALIFE AT 128 BPM

CAM O & K RO O K EDHOSPITAL’S NEWEST SIGNINGS DISCUSSTHEIR BRAND-NEW LONG-PLAYER

L I L S I LVAFROM UK FUNKY TO THE WORLD

O U T LO O KFIVE PAGES OF PHOTOS FROM THEBEST BASS FESTIVAL ON EARTH

+NEED FOR MIRRORSAPPLEBLIMONEMAN

06

FR E ESPECIAL 1ST

BIRTHDAY EDITION

JOKERNO

FOOLINGAROUND

W I NTICKETS TOLOWPASS

WEEKENDER

WWW.T RA PMAGAZ I N E . C O . U K

Motion Ramp Park74 - 78 Avon Street, Bristol, BS2 0PXT: 01179 723 111

Tickets available fromwww.bristolinmotion.com/ticketsAlso Available from: Bristol Ticket Shop www.bristolinmotion.com

Regarded as one of the finest and most charismatic underground music brands, bringing artists and fans to the West Country area from far and wide, In:Motion have proved themselves to be the new jewel in Bristol’s crown. Their weekly programme of events feature an eclectic range of mind-blowing talent from live hip-hop, to raw drum n bass, dubstep to indie, bass-driven electro to straight up underground house & techno.

This October they re-open their doors for another season of the highly-charged and hugely loved ‘In:Motion’ series. Still reeling from the success of last year’s sell-out autumn events, 2011 sees them come back bigger, better, stronger, louder with the hottest electronic acts of the moment gracing the infamous Bristol ramp skate-park, turned rave haven.

Friday 18th November

ALL GONE PETE TONGPete TongCalvin HarrisEats EverythingRobert DietzCesar Merveille / RETRO/GRADEDeepgroove / Burns / Waifs & StraysGrahame Farmer (Datatransmission)Tom Rio / Alex & Digby / Osky CrozTickets: £16.50 Door Times: 22.00 - 06.00


BLOCJokerJames HoldenMartyn Luke Vibert2562 / NATHAN FAKE / Illum SphereGemmy / Fairmont / Luke AbbotJo Hart / Al-Tourettes / PlacidRubin / Hosted By: Crazy D / KoastC-Strike-ZTickets: £16.50 Door Times: 22.00 - 06.00

Saturday 26th November

RBMA & FutureboogieHenrik Schwarz (Live)Crazy P (Live)Bonobo (DJ Set)Julio Bashmore / Maya Jane-ColesAppleblim / Behling & SimpsonChristophe / Lukas / Futureboogie DjsTickets: £14.50 / £16.50 Doors: 22.00 - 06.00


Run 012RuskoAndy CScratch PervertsGrooveriderAlix Perez / Spectrasoul / D*MindsJakes / Gemini / Elijah & SkilliamLynx / Mensah / InterfaceLost / Kapacity / Hosted by: GQJakes / Inja / Tonn Piper / AD:MCBeezy / Koast / Shadz / RemidyTickets: £17.50 Door times: 2200-0600


Field Day night Erol AlkanWashed Out (live)Friendly Fires (dj set)Hudson Mohawke (live)Jon Hopkins (live)Boddika / Chimes (Eat your own Ears DJ)Alexander Nut (Eglo) / Fatima (Eglo)Casper C / Simple Things DJs& more tbaTickets £14.50 / £16.50 Door Times: 22.00 - 05.00


Secret PartyActs TBA on the nightYou won't be disappointed!Keep checking the websitefor ticket detailsDoor Times: 22.00 - 05.00

Friday 4th November

ANNIE MAC PRESENTSANNIE MACTODDLA T & SEROCEE2BEARSDONAEO / EMALKAY / TBCBREACH / SEIJI / MARTELO / TOM MADICOTTDUBIOS / PARDON MY FRENCHTickets: £14.50 / 16.50 Door times: 2200 - 0500


SMERINS PRESENTSTHE GUNPOWDER PLOTSMERINS ANTI-SOCIAL CLUBGENTLEMEN’S DUB CLUBBABYHEADGYPSY HILL / DUTTY MOONSHINE / CHEEBA (AV)PARKER / DON HENDICUTZ / YOSHIGaz's Rockin Blues ft GAZ MAYALLBABY SOUL & JOHN STAPLETONTickets: £14.50 Door times: 2100-0400

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06

FR E ESPECIAL 1ST

BIRTHDAY EDITION

JOKERNO

FOOLINGAROUND


WEEKENDER


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: Nick Hills

COVER: Joker by Zachery Saitoti. www.shifteyephotography.com

PICTURES: Laura Lewis, Zachery Saitoti, Sim Higginson, ASHES57, Sam Neill,

Sebastian Matthes, Tom Bunning, Jacob Bours, Josh MG, Shifteye, Marc Sethi.

WORDS: Jon Cook, Oli Marlow, Kasha Malyckyj, Sam Bates, Belinda Rowse, Sean Kelly,

Sam Collenette, Jeryl Wilton, Amy Stiff, bassmusicblog.com, Sophie Thomas, Jon Carter, Tim

Rayner, Adam Scotland, Dave Cotgrave, Curtis Moldrich, Geoff Wright and Sophie James.

T RA P MAGAZ I N EN OV EM B ER / D EC EM B ER 2 0 1 1WWW . T R A PMAGAZ I N E . C O . U K

THANK YOU: Leo @ Darling, Adam @ Backdrop, Ben @ Run, Carly @ Don’t Panic, Baz

@FOO, Rob, Tom & Ollie @ The Blast; Johnny & Jack @ Outlook; Danna @ Takkako,

Scot @ Fabric, Lee & Courtney @ Muzik Hertz, Steve @ Cooshti, Lisa & Suz, Louis,

Rich & Sid @50/50, Cheba & Sam @ WOC, Johnny & Ben @ Outpost, James & Sophie

@ Found, Steve @ Chemical, Chris @ Idle Hands, Danny Keston.

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

HYPE THINGS WORTH GETTING EXCITED ABOUT

MONKI

TRAP FASHION

TRAP X THE DAILY STREET

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

FASHION INDIAN SUMMER

MUSIC REVIEWS

BASSPOINTS THE HOTTEST EVENTS ON PLANET BASS

OUTLOOK FESTIVAL 2011

NEED FOR MIRRORS

LIL SILVA

JOKER

SEE NO EVIL

CAMO & KROOKED

ALIX PEREZ & ROCKWELL

BODDIKA

REGULARS FEATURES

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MOTIVATION MUSICNottingham’s Mimm is more than

just a clothes shop that stocks

some of the dopest brands around –

art exhibitions, club nights and now

a record label are all part of the

movement. Mimm002 is out in

November, for which Wigflex’s

Spam Chop has produced a 12

and a limited sweatshirt.

BUGGED OUTAfter 17 years pushing the

electronic music envelope, in

January 2012 Bugged Out plan to

deliver what looks like one of the

best ‘weekender’ line-ups we’ve

seen yet. Promising the best in

techno, acid house and bass

music, tickets are on sale now.

www.buggedoutweekender.net

LOOK OUTAs you probably know, we at Trap

are big fans of Outlook Festival.

There is, quite simply, no better

celebration of bass music culture

anywhere in the world. Tickets for

2012 are on sale already, and after

2011’s sold out months in advance,

we advise you get on it.

www.outlookfestival.com

REDLIGHTRedlight has big things

planned for the coming months.

As well as supporting Tinie

Tempah on tour, he’ll be

dropping a mixtape packed with

exclusive Redlight and Lobster

Boy material. Watch out for the

drop on his new website on

31 October.

WINTER HEATWAVE

As regular readers wil l know, we atTrap love a bit of bashment. So wewere pretty hyped when we heard thatthe indisputed kings of UK dancehall,RinseFM’s The Heatwave, were takingtheir Hot Wuk dances nationwide andstarting a new weekly Wednesday-night party in London.

Hot Wuks are lined up for Brighton,Bristol, Leeds and London over thecoming months (see listings for ful ldetai ls), while Mad Raff Wednesdayswil l be smashing up The Social onLitt le Portland Street each and everyweek. With free dance classes, nailart and, of course, whistles and horns,alongside some very special guests,Mad Raff looks like the most fun youcan have on a Wednesday!

www.theheatwave.co.uk/maddraff

H Y P ETHINGS WORTH

GETTING EXCITEDABOUT

06

000066 TRAPMAGAZ INE .CO .UK

RBMA 2011MADRIDOriginally planned to take place in Tokyo back inMarch, the 2011 Red Bull Music Academy kicks off itsmonth-long programme of events this October inMadrid, Spain.

Invit ing 60 selected musicians to come together in adifferent city every year, for recording sessions,inspirational lectures and late-night jams, for thoseselected to attend the Academy this is a once in al ife-time opportunity to fol low in the footsteps of pastRBMA alumni including Jamie Woon and Flying Lotus.This year, Doc Daneeka, Nightwave and Om Unit –some of the most tantal ising talents in bass musicright now – as well as a bunch of equally talentedinstrumental ists have been chosen to fly out andrepresent the UK.

2011’s RBMA takes place from 23 October to 25November, and includes a hefty schedule of eventsthat are open to al l. If you’re in Madrid during thatmonth, make sure you check the RBMA website formore detai ls.

www.redbullmusicacademy.com

GUTTER FUNKDrum & bass legend DJ Die is

launching Gutter Funk, a brand

new label with a mandate for

genre defying bass heavy music.

The first release is out soon on

hand-stamped vinyl and features

beats from HENCH’s Mensah

and UK hip-hop stalwart

DJ First Aid.

INDIGO CHILDDonaeo has been making plenty

of noise over the last couple of

years, whether that be for his UK

funky anthem ‘Party Hard’ or his

link ups with Shy FX on tracks such

as ‘Riot Music’. On 17 October

he’s giving away a full album of

fresh material on his website.

Go cop. www.donaeo.com

URBAN INDUSTRYAfter years supplying the

highest grade street fashions

over the internet, Urban

Industry has just opened a

brand new store out in

Eastbourne, offering one of the

biggest and freshest selections

of streetwear in the UK.

www.urbanindustry.co.uk

FREE MOSCAResponsible for one of this

year’s most defining anthems,

the ubiquitous ‘Bax’, Mosca has

some serious hype around him

right now. As such, he’s just hit

5,000 followers on twitter and is

giving away an EP of 100bpm

house to celebrate. Download it

here: tinyurl.com/6eqpclf

FIFTYONE27For those of you living or regularly visit ing mates inBristol, you need to get to know about Fiftyone27.Held each and every Friday at the city’s legendaryfloating rave den, The Thekla, Fiftyone27 has beenbringing bass music’s biggest names to the WestCountry, week in, week out, since the start of 2011.

The list of DJs who have played Fiftyone27 this year isamazing, and over the next couple of months the likesof Todd Edwards, Koreless, Hackman and Bok Bok wil lal l be making appearances alongside superb residentsincluding EFA and OPR8. Sign up to the facebookgroup for free guestl ist and to keep up to date with allthe latest happenings down on the good ship Thekla.

www.fiftyone27.net

OUTLOOK FESTIVALPROGRAMSYou may remember us tel l ing you in Trap#005that we were producing a special edit ion ofTrap as the official program for this year’sOutlook Festival. Well, those of you who wentmay have noticed that these programs nevermade it in time – Croatian customs apparentlydidn’t l ike the look of our 1.2tonnes ofmagazines so sent them to fester in a depotin Vienna.

We can’t tel l you how gutted we were aboutthis, but the good news is we’ve managed toget them back to the UK, and wil l be offeringthem via the Trap, Outlook and ChemicalRecords websites. Keep an eye out for whenthey become available if you want to grab theult imate souvenir of the world’s best bassfestival. Or alternatively, checkwww.isssu.com/trapmagazineto read online!

TRAPMAGAZ INE .CO .UK 000077

HOT LIKE LAVALAVA Collective are holding a

group show at The Rag Factory,

just of east London’s Brick Lane

on the weekend of 3 November.

Drop by to check work from the

likes of street artists Lucas and

Stik and Trap’s favourite

photographer and Swamp81

illustrator ASHES57.

SKATE SCHOOLFor all you Bristol skaters,

Campus, the new south of the

river skatepark that we used for

the fashion shoot in Trap#005,

is now open. Situated in an old

college building (thus the name)

and with ramps and space to

chill, we suggest you check it.

www.campus-skatepark.co.uk

BEAT THE SYSTEMHot on the heels of Bungle’s

‘Memories’ LP, Spearhead Records

label-boss BCee releases his debut

long-player in November. A blend

of different drum & bass styles, the

album contains new tracks with

Robert Owens and Darrison to

name a few, plus a selection of his

biggest singles.

ART OUT WESTIf you like the art we feature in

Trap, then check Graffik Gallery

on London’s Portobello Road,

which is a hot-bed of established

and up and coming street artists.

October saw the launch of a new

exhibition from Stik that runs

until the end of November.

www.graffiklondon.co.uk


Joy O, Boddika, BenUFO, Roska and Jackmaster, giving LowPass’s l ine-up plenty of appeal.

With al l the other attractions a holiday park usually rel ies on tosell itself – including go karts, arcades and indoor pools (wherewe’re promised Ms Dynamite’s Pool Party!) – and chalets foryou to catch some proper sleep between al l the raving, LowPass final ly gives al l you bass heads your ownproper ‘weekender’.

If this sounds l ike you kind of party, but you’re short on funds,don’t stress – Trap are giving you the chance to win fourweekend tickets, including a four-bed chalet, for you and agroup of mates.

To enter, just email [email protected] with your name,DoB and post code before 29 October.

WWW.LOW-PASS.CO.UK

LOW PASS WEEKENDERWIN 4 TICKETS ANDACCOMMODATION!November certainly isn’t the prettiest of months here inmiserable old England. With winter well and truly setting in,and the gloomy nights beginning ever earl ier, the last placeyou’d probably ever want to go would be a holiday camp onthe Brit ish seaside...

However, imagine that holiday camp had been taken over forthree whole days and nights by some of the biggest and bestnames in bass music, bringing with them an al l-star roster ofartists and their loyal fol lowings of thousands of bass-hungryravers... Sound more attractive? Well, that’s what this year’sLow Pass Weekender is setting out to do; taking over Pontinsin Camber Sands, East Sussex for the weekend of 4November with a truly outstanding l ine-up.

With Digital Soundboy, SWAMP81, Shogun Audio, FACT,Wheel & Deal and the mighty Ram Records al l hosting arenaspacked with al l the names you’d expect, Low Pass certainlymeans business. Rave mega stars such as Andy C, Friction,Caspa, Shy FX and Skream wil l al l be in attendance, as wil lthe hottest names from bass music’s cutting edge, including

NIGHTS

BIGGER THANBARRYThis Leeds and Sheffieldbased rave is wellestablished and known forits sell-out events andtotally up for it crowd. I onlyexperienced a Bigger ThanBarry night for the first timeback in May, but my godhave they put togethersome big line-ups just intime for the new freshers.Upcoming madness isgonna come from the likesof Brenmar, Lunice,Swamp81, Jackmaster,Mele, Joy Orbison, Blawanand more. .

BOUNTY

This one is more local tome and much smaller, butjust as vibesy. I firststumbled across a Bountyrave in a huge East Londonbasement under a leathershop. Now held monthly atthe top of Shoreditch’s OldBlue Last; expect 90ship-hop, garage, grime.And the best bit is that thelovely people at Bountyhave made this a FREEparty. A well recommendedFriday night out.

FM’s Monkiis one of the moston-point DJs aroundright now. Hosting herown weekly show onthe now-legal radiostation and regularlyplaying at the sickestraves in town, we’reproud to invite Monkiinto the pages ofTrap.Read on for ourlatest column from the19-year-old SouthLondoner, sharingeverything she’s hypedabout for the comingmonths…

I LOVE…

French producer Surkin comes

with a fresh EP entitled ‘USA’ in

November, on new label Marble.

I love both tracks for complete

different reasons. Look out for

this one!

ONE TOWATCHDJ DODGERSTADIUM

LOL Boys and Samosoundboy

have teamed up to create DJ

Dodger Stadium. Their first EP,

‘Stadium Status’, is out now on

LA-based label Body High. The

record is packed with old rave

pianos, house organs, claps, an

acid synthline, plenty of samples

and a nice steady 135bpm

across all five tracks. My

favourite is ‘2 Plus 2’.

CATCH ME AT:

KATY B UK TOURFor me, this is the month of the

autumn tour! I’ll be tagging

along on Katy B’s UK tour, with

17 dates lined up in three weeks

hitting up every city from

Glasgow to London. P Money,

Roska, Jamie George, Zinc and

Ms Dynamite will all be supporting

Katy along the way - you can

catch me behind the decks for P

Money, while no doubt battling

the lack of sleep caught on the

tour bus. Can’t wait!

FWD>> + RINSEOn 22 October, the Rinse and

FWD>> family are heading up

the M4 to Bristol for a massive

party as part of the In:Motion

series at Motion. The line-up is

massive, and includes Zinc,

Newham Generals, T Williams,

Youngsta, EZ and many more,

including yours truly! Check the

website to download a mix I’ve

done for the In:Motion series.

I can’t wait to see what Bristol

has in store…


5 DAYS-NIGHTS OF MUSIC - 650KM OF PISTE - 6 SNOWPARKS - SUPER PIPE - MOUNTAIN MADNESS - STREET PARTY

MORZINE’S FIRST ELECTRONIC MUSIC AND SNOWSPORTS FESTIVAL

2ND - 6TH APRIL 2012

MORZINE, FRANCE

WWW.BASSCAMP-FESTIVAL.COM

BENNY PAGE - MARCO DEL HORNO - MC WREC

DJ CHEEBA - DJ SWITCH - BASS6 - HUNGRY MAN - IDREN SOUND OKORU DJ’S - PHIL JUBB - EVESON - DR. JOHNSON - BUBBLES - DISKO STOO - PENPEN DEMO MODE - JAGGA - CHEMICAL ALI - DJ C-SHE - DJ RAZE - RINSEMASTER SHAQQQX

STAY TUNED IN ONLINE FOR MORE ARTISTS TO BE RELEASED, FREE DOWNLOADS AND COMPETITIONS

WWW.FACEBOOK.COM/BASSCAMPMORZINE @BASSCAMPMORZINE

PRICES FROM€299FOR ACCOMMODATIONAND FESTIVALWRISTBAND

Wi t h s u m m e r n o w w e l l b e h i n d u s a n d t h em e m o r i e s o f a n o t h e r a m a z i n g f e s t i v a ls e a s o n s t a r t i n g t o f a d e , y o u ’ d b e f o r g i v e nf o r t h i n k i n g t h e f u n ’s o v e r f o r a n o t h e ry e a r. . . b u t y o u ’ d b e w r o n g .

F e s t i v a l s a r e n ’t j u s t r e s e r v e d f o r t h ew a r m e r m o n t h s a n y m o r e – t h e s e d a y s ,t h e r e ’s a b u n c h o f o p t i o n s f o r t h o s e o fy o u w h o c a n ’t w a i t u n t i l J u n e f o r y o u rf e s t i v a l k i c k s . A n d w h i l e y o u c o u l d o p t f o ra w e e k e n d s p e n t i n a d i n g y B r i t i s h h o l i d a yp a r k l o s i n g y o u r m i n d t o t e c h n o a n de a t i n g s o m a n y d r u g s y o u ’ r e n o l o n g e rs u r e i f y o u ’ r e i n B u t l i n s o r B e r l i n , t h e r ea r e , w e a s s u r e y o u , b e t t e r w a y s t o g e tyour festival f ix during the colder months...

T h e i n a u g u r a l B a s s C a m p f e s t i v a l t a k e sp l a c e i n M o r z i n e , F r a n c e o n 2 – 6 A p r i l2 0 1 2 , a n d p r o m i s e s t o c o m b i n e o n e o ft h e b e s t a l p i n e s k i a r e a s i n t h e w o r l d w i t hf i v e i m m e n s e a p r è s s k i a n d n i g h t - t i m ep a r t i e s , p a c k e d w i t h w o r l d - c l a s s a c t sf r o m t h e w o r l d o f b a s s - h e a v y m u s i c , a n dc u l m i n a t i n g i n a n a l m i g h t y f a n c y - d r e s so p e n - a i r s t r e e t p a r t y o n i t s f i n a l n i g h t .

A c t s c o n f i r m e d t o p e r f o r m s o f a r i n c l u d eF o a m o , B e n n y P a g e , M a r c o D e l H o r n o ,N u To n e & L o g i s t i c s , M C Wr e c , H i g hR a n k i n a n d D J C h e e b a , a n d w e a t Tr a p w i l lb e t a k i n g c h a r g e o f o u r v e r y o w n n i g h t w i t ho u r r e s i d e n t D J s j o i n i n g t h e A - l i s t a r t i s t sf o r a p a r t y w e c a n ’t w a i t t o g e t s t a r t e d .

A n d i f , l i k e u s , y o u ’ v e n e v e r s e t f o o t o n as k i s l o p e b e f o r e , d o n ’t w o r r y - w h e t h e ry o u ’ r e o n - p i s t e p r o o r a t o t a l n o v i c e ,M o r z i n e a n d i t s s u r r o u n d i n g a r e a s h a v es o m e o f t h e b e s t s n o w p a r k s i n E u r o p e ,o ff e r i n g p l e n t y o f n u r s e r y s l o p e s f o rb e g i n n e r s , a n d m o r e c h a l l e n g i n g r u n s f o rt h e e x p e r i e n c e d , i n c l u d i n g t h e o n l y B u r t o nS t a s h i n E u r o p e .

F i v e - d a y p a c k a g e s s t a r t a t j u s t €2 9 9 , f o rw h i c h y o u g e t a c c o m m o d a t i o n a n d e n t r y t oa l l f i v e d a y s a n d n i g h t s o f t h e f e s t i v a l . T h el i n e - u p i s s t i l l g r o w i n g , s o m a k e s u r e y o uk e e p a n e y e o n t h e B a s s c a m p w e b s i t e f o rf u l l d e t a i l s . We ’ l l s e e y o u i n t h e s n o w !

WWW.BASSCAMP-FEST IVAL.COMwww.facebook.com/basscampmorz ine

twi t ter.com/basscampmorz ine

‘brand new snow & bass music festival launches

2 – 6 Apr i l 2012

Portes du Solei l ,

France.


BLACKMILK

Leggings have come along way from thei rhumble beginn ings asthe 1980s work-out i temof choice. Th is Lycraleg-wear has come al l theway back around, andthere’s now a pai r forevery g i r l of every shapeand taste…

Colourfu l , sh iny andpr inted leggings are theTrap lad ies favour i tes, andone of the true p ioneers ofth is t rend is cu l tAustra l ian labe l BlackMi lk . Star ted up as alabour of love by des ignerJames Li l l i s and so ldexc lus ive ly through the i ron l ine bout ique, BlackMi lk st ick to a perfectformula of eye-catch ingbodycon pieces inluxe- look stretch fabr ics.

Words: Kasha Malyckyj& Jason Gardener

FAS H I O N06


CARHARTTHEADGEAR

With over 120 years in thegame, one brand renowned forabso lute cons is tency isCarhar t t - as the i r fa l l d ropreaff i rms once more. With theharsher months fastapproaching, i t ’s t ime to stepaway from the summerf ive-panels and thoseever- t rend ing snapbacks andstar t th ink ing towardswinter headwear.

Carhar t t s tap les inc lude theCovert Beanie and BobbleWatch wi th a few seasonaladd i t ions by way of the subt leMi l i ta ry and Ribbed Admira l .

PENFIELD

The Lakef ie ld Jacket is oneof our favour i te sty les in thelatest co l lect ion f rom the coolest(and warmest) outerwearspec ia l is t ’s Penf ie ld. Coming inthree colour-ways, th is coat haseveryth ing needed to protect youfrom the elements. A sol id bu i ldin Hudson wax fabr ic is sure tokeep you both warm and dry,whi le the leather yoke protectsthe shoulders f rom backpack rub.Add a fo ld-away hood and abutton-z ip storm front and you'vegot a great a l l rounder. We’ l l berock ing the colba l t co lourth is winter.

NIKE AZTEC

With so many sty les ava i lab le inNike's c lass ic Ai r Max 1, opt ionscan somet imes be a l i t t leunderwhelming. Al though theshoe is ava i lab le to customisethrough Nike Id, i t ’s a lways goodto see the brand pushing theboundar ies when i t comes tothe re leases.

Th is bu i ld , due to drop at the endof October rea l ly stands out.The Aztec pack comes in twocolourways - b lack and gra in -each featur ing a pr inted fabr icmid-sect ion wi th premium leatherand nubuck construct ion.Def in i te ly one for thesneakerheads.

ROCKWELLX PARRA

Dutch i l lust rator Parra is wel lknown for h is graphic work, whichis heav i ly inf luenced by ‘60s and‘70s screen-pr int des ign.

His bo ld pr int , invent ivetypography and qui rky charactersare represented wel l in th is newcol lect ion for Rockwel l C loth ing.A strong range of productopt ions, which inc lude, tees, crewsweats, f la t peaks, skate decksand bags, are a l l presented wi ththat d is t inct Parra v ibe.


ELLESSEHERITAGE

Some of our youngerreaders may not rememberI ta l ian sports labe l E l lessefrom the f i rs t t ime around.The brand’s c lass ic sty leswere in i t ia l l y ta i lo red totennis and sk i wear, but ,l ike many I ta l iansportswear brands, la terbecame a much- lovedstap le for the Br i t ishfootba l l ter races of the1980s.

Those in the know wi l lhave a l ready beenplunder ing eBay in searchof a p iece of the or ig ina l80s/90s des igns, but i fyou’re not a sportswearconnoisseur yet st i l l wantto get invo lved, then theEl lesse Her i tage col lect ionis where i t ’s at .

With a Spr ing/Summerrange al ready under the i rbe l t , th is next seasonsoffer ing from El lesse is agreat mix of smart po los,sharp outerwear and icon ict racktops, wi th sty lesoffered to both guysand gi r ls .

FAS H I O N06


Words: Adam Scotland

‘WinterAccessoriesWinter is our favourite time of year when it

comes to clothing. #ere's only so much youcan do with shorts and t-shirts, but with the

colder weather arrives a whole host of differentoptions. Here are a few accessories for you to

consider for the months ahead...

You can't escape the in1uence of Native American prints and fabrics on current trends, and no one does it better thanPendleton. /is wool/leather weekend bag is de0nitely a statement piece, with unparalleled quality.

Be prepared to pay for what you get, though... Available from End Clothing: www.endclothing.co.uk

Talking prints, camo is another that we've seen a lot ofover the past few months, and now’s a better timethan ever to include some in your wardrobe. It'seasily over-done though, so something like thisreversible camo print scarf from /e Hill-Side will doAvailable from Superdenim: www.superdenim.co.uk

Pointer again team up with Italian master cra2smenAnderson's for another series of waxed cotton andleather belts. /is three-colour woven piece is theperfect winter accessory and an ideal way to breakup any out0t. Available from FUSShop:www.fusshop.co.uk


PendletonWeekend Bag

#e Hill-SideCamo Scarf

Pointer x AndersonWoven Belt

SIA – ‘LITTLE MAN’ (EXEMEN RMX)This reminds me of schooldays, listeningto tapes in the playground on lunch break.For me, everything about this track defineswhat I loved about that 2step garagesound of the Millennium. The scatteredbeats, Caribbean steel-pan melody, heavygrowling bass - all brought together bySia's creeping vocals.

CRUSTACION – ‘PURPLE’ (J DILLA RMX)J Dilla's mix of the trip-hop classic 'Pur-ple' is one of my all-time favourites. A lotof the time, with music like this, it's whatisn't there that makes the track so special;the space it leaves for you to get into. If Iever feel the need to slow down a bit, Ialways listen to this track, it's likesonic codeine.

MALA – ‘LEAN FORWARD’Mala is easily my favourite producer fromthe dubstep sound I was so into around2004-2008. He has his own sound thatnobody can copy and I really respect howvaried he is with his percussion choices,rhythmic patterns and melody. ‘Lean For-ward’ almost has the perfect beat - at thetime I first heard it, it WAS the perfectbeat, the best rhythm I'd ever heard. Itwould send me wild if I heard it in a club,like proper mental, storming around on thesecond drop.

SLEW DEM CREW – ‘GRIME 2005’Slew Dem Crew were a very underratedcollective from east London that came upthrough pirate radio and 'road DVDs' liketheir own 'Non Stop Working', 'RiskyRoadz' and 'Practice Hours'. They put alot of hard work into the scene, hosting aradio show and releasing a slew (no pun)of 12" EPs. One of my favourites is theWaifer-produced gunshot anthem 'Grime2005'. It’s literally two sets of four-barloops back to back for four minutes, but itjust doesn't get boring.

SMIFF - N - WESSUN – ‘BUCKTOWN’'Dah Shinin' is one of my favourite hip-hopalbums of all time; it's a Brooklyn classic. Ilove the way they use Jamaican twang intheir talk all over the record, somethingthat’s heavily done in British black musicbut not so much the US. ‘Bucktown’ is allabout the beat and the sax riff, though, sodark and smooth, but without Tek andSteele on the track, I don’t think it wouldbe in this top-ten.

PEARSON SOUND – ‘PERIMETER’Pearson Sound has really developed sincehis 'Ramadanman' days. The edits in his

tracks are now every four to eight bars,which makes for really exciting progressionand general unexpectedness. ‘Perimeter’was one of the first tracks I heard fromhim to go down this route. There’s a 16-bar breakdown that happens twice in thistrack, and it's possibly the best 16 bars ofmusic I've heard in the past five years... Ijust wish it was longer as I often loop itwhen I play it out!

GIRL UNIT – ‘WUT’I can remember the first time I heard'WUT'. It was at East Village for aNight Slugs event in 2010 that Girl Unitwas playing at. I'd never caught him play,so headed down with a big group offriends. I went mad for this tune like I'dheard it before - it felt like I had, but Ithink it was just the sheer power of it .I bugged the Night Slugs guys about threetimes a day after that to get the tune outof them !

JOY ORBISON – ‘MILK & HONEY’I'm not a huge fan of the Goapele original,but the Joy Orbison version is outstanding.He has a great perception of how vocalscan sound manipulated, it's the best partof his production for me, along with histight EQing across the whole track. I can'tremember the last time I didn't play thistrack out. It doesn't always work withevery single crowd, but it's one of thosetracks where I just don't care!!

STICKY – ‘TRIPLETS’This tune was such a big deal when I was15. Everybody was going mad over it; allthe DJs played this track when it dropped- if you didn't have ‘Triplets’ in the bag,what we're you doing? I can't imagine lifewithout this track back then. It was this,‘138 Trek’, ‘Buddah Fingah’ and ‘SoundsOf The Future’ - they were the four tracksalways getting battered. It went as far astrying to make the melody on your Nokiaphone with the 'Ringtone Composer'! Ifyou had the Triplets ringtone, you we'rea badman.

SO SOLID CREW – ‘OH NO’The origins of grime, although at the timeit was just MC-led UK Garage to us. I wasso proud to be from South London whenSo Solid blew up, as I was an avidSupreme and Delight FM listener, alwayslocking into So Solid Sundays and LiveCaller shows. I thought this tune was sorude; “Never seen, never heard, neverhappened, never occurred.” I love Romeo'svocal style; he was always my favourite inthe crew, the whole half patois-half south-London chatter about nothing in generalbut party vibes.

BOSSSELECTIONSThe biggest DJs in the game share thesecrets of their selection...

GOING IN DEEP. ONEMAN RINSE FM

WARRIOR ONEBLACK BUTTER

1. WARRIOR ONE FT AYAHMARAR – ‘FYAH’ (BLACK BUTTER)

2. NOCTURAL - ‘STAY DOWN

THE ROAD’ (MURLO RMX)

3. WOZ – ‘GAIN’ (BLACK BUTTER)

4. BAXTA – ‘BLADE RUNNER’ (DUB)

5. BOYCOTT SELECTOR -‘FOUND A BODY’ (DUB)

6. FAMOUS ENO FEAT MC STITCH -‘ALL GOOD FM’ (DUB)

7. WARRIOR ONE - ‘1996 RIDDIM’(BLACK BUTTER)

8. JUMPING BACK SLASH -‘SHOSHOLOZAAAAA’ (NECTAR)

9. GREYMATTER - ‘GIVE IT TO ME

SLOW’ (WOLF MUSIC)

10. GUY ANDREWS - ‘KLIKKR’(DISCOBELLE)

BREACHPTN

1. MISTAMEN – ‘DAYLIGHTROBBERY’2. BREACH & MIDLAND – ‘101’3. PANGEA - ‘HEX’4. JAM CITY – ‘BARELY ATRACK DISCO’5. DJ CRA$Y - JUST E(BREACH RMX)6. REDLIGHT - ‘MOSQUITO MAN’7. KORELESS – ‘MTA’8. BREACH – ‘GUNFINGER’9. SAN SODA - ‘KAIZEN’10. EATS EVERYTHING - ‘THE SIZE’

FOREIGN CONCEPTCRITICAL / SHOGUN

1. FOREIGN CONCEPT –‘MOB JUSTICE’ (ENEI RMX)

(CRITICAL)

2. CHROMA – ‘FALLING’

(CODED MUSIC)

3. NUAGE & THRNE – ‘DON’T

EXIST’ - (ANILE RMX)

(TRANSLATION RECORDS)

4. SKEPTICAL – ‘BLUE EYES’

(INGREDIENTS)

5. JUBEI, FIERCE & VICIOUSCIRCLE – ‘FIEND’ (QUARANTINE)

6. dBRIDGE – ‘SINCE WE’VE

BEEN APART’ (SHOGUN)

7. MUTATED FORMS –‘POWDER DEMON’ (DUB)

8. HEAVY 1 & JUNE MILLER –‘SOMETHING’ (DUB)

9. ULTERIOR MOTIVE –‘DIVERGENCE’ (CRITICAL)

10. FOREIGN CONCEPT &KASRA – ‘SHOWYOU’

(CRITICAL)

XXXYORCA

1. SEPALCURE – ‘SEE ME FEEL ME’(HOTFLUSH)2. 14 – ‘FLICKER DEVICE’ (DUB)3. DEXTER – ‘GREAT NORTHERNDIVER’ (CLONE BASEMENT)4. PRESK & CINNAMAN – ‘SWEAT’(DOC DANEEKA RMX)(AUDIO CULTURE)5. MOSCA – ‘DOM PERIGNON’ (3024)6. T. WILLIAMS – ‘GO IN’(LOCAL ACTION)7. THOMAS BANGALTER –‘OUTRUN’ (ROULE)8. PARIS UNDERGROUND TRAX –‘HARDCORE DEEP HOUSE’(MY LOVE IS UNDERGROUND)9. RATCATCHER – ‘NIGHTLIFE’(CATAPULT)10. SLEEP OVER – ‘ROMANTICSTREAMS’ (HIPPOS IN TANKS)

THE HEATWAVERINSE FM

1. POPCAAN– ‘RAVIN’ (ADDE PROD)2. MAVADO– ‘SETTLE DOWN’(JUSTUS/JA)3. MRVEGAS – ‘BRUK IT DOWN’ (Q45)4. STYLOG–‘CALL MI A YARDIE’(KODY STARR)5. BUSYSIGNAL, KANO&FATMAN SCOOP –‘WINE DE BEST’(ORANGE HILL)6. DEMARCO–‘LOVEMYLIFE’(STAR KUTT)7. VYBZ KARTEL –‘THE BESTOFTHEM’ (RUSSIAN)8. LAZAMORGAN&MAVADO‘ONE BYONE’ (ATLANTIC)9. MS DYNAMITE – ‘NEVA SOFT’(STEPHENMCGREGOR RMX)10. VYBZ KARTEL – ‘WORLD BOSS’(RUSSIAN)

PHACENEOSIGNAL

1. PHACE & MISANTHROP –‘ENERGIE’ (NEOSIGNAL)

2. PHACE & NOISIA –‘IMPERIAL’ (DUB)

3. ALIX PEREZ & ROCKWELL –‘BALLBAG’ (DUB)

4. MISANTHROP –‘HAMMERFAUST’ (NEODIGITAL)

5. PHACE & MISANTHROP –‘WHAT’S WRONG’ (NEOSIGNAL)

6. PHACE –‘STRESSTEST’ (NEOSIGNAL)

7. NOISIA – ‘RAISE YOUR

WEAPON’ RMX (MAU5TRAP)

8. PHACE & ROCKWELL –‘NO!’ (NEOSIGNAL)

9. PHACE & ROCKWELL –‘RAT RACE’ (SHOGUN AUDIO)

10. PHACE & NOISIA –‘MICRO ORGANISM’ (NEOSIGNAL)

T.WILLIAMS HAS BEEN TURNING HEADS OVER

THE LAST YEAR WITH OWN BRAND OF BASS-

HEAVY HOUSE MUSIC. CATCH HIM PLAYING A

SPECIAL GARAGE SET AT HERITAGE ALONGSIDE

MATT JAM LAMONT, NOODLES, SLIMZEE,

HORSEPOWER PRODUCTIONS AND MORE ON

FRIDAY 11 NOVEMBER.

MY NAME IS...

Tesfa Wi l l iams, aka T.Wi l l iams.

YOU MAY KNOW ME ALREADY FOR...

‘Heartbeat ’ , ‘F loor ing’ , ‘Gett ing Mine’ , and

my recent re lease on Local Act ion Records,

‘Break Broke’.

WHEN I’M NOT WORKING YOU WILL FIND ME...

St i l l in the stud io do ing someth ing music

re lated, mix ing, p lay ing the drum ki t or s i t t ing

on twi t ter. Fo l low me @twi l l iamsmusic.

MY AMBITION FOR THE NEXT 12 MONTHS IS...

To keep making good music, hopefu l ly.

IF I WASN’T DOING MUSIC, I’D...

Be teaching music tech.

YOU MAY BE SURPRISED TO KNOW THAT...

I used to make garage/gr ime under the name

Dread D.

THE MOST IMPORTANT THING IN THE WORLD

TO ME IS...

My hear ing.

I’D LIKE TO BE REMEMBERED AS...

Someone who has contr ibuted to the UK's

underground scene.

THE ULTIMATE DREAM IS...

To have a long-stand ing music career.

www.facebook.com/t.williams.mus ic.page

Trap is proud to be an official media partner for the FOUND series at south London venue Hidden.Here we present a trio of quick-fire chats with two of the artists and one of the record labels

you’ll find doing their thing at FOUND this autumn.

BLACK BUTTER RECORDS HAS BEEN ON FIRE IN

2011, DROPPING RELEASE AFTER RELEASE OF

THE BASHIEST BASS-MUSIC AROUND. THE

LABEL WILL BE TAKING OVER FOUND,

ALONGSIDE THE Z SHED, ON FRIDAY 2

DECEMBER, WITH LIL SILVA, RACKNRUIN,

GREENMONEY, WARRIOR ONE AND MANY MORE.

MY NAME IS...

Black Butter Records.

YOU MAY KNOW ME ALREADY FOR...

Tracks like P Money’s ‘Ho! Riddim’, ‘Soundclash’ byRackNRuin & Jessie Ware, SKisM’s ‘Dazed & Confused’remix, ‘Deep In The Valley’ by Rudimental & MC Shantieand ‘Watch This’ By Tomb Crew.

WHEN I’M NOT WORKING YOU WILL FIND ME...

Cuddling a bass bin in between bouts of vintage cocktailbinges and high-speed car chases.


To release the most cantankerous, roughneck, poisonousdubplate you ever heard!


Be supporting the global community in some other funda-mentally charitable way.

YOU MAY BE SURPRISED TO KNOW THAT...

The cost of living has actually doubled since this interviewstarted..

THE MOST IMPORTANT THING IN THE WORLD

TO ME IS...

My silver and my gun, wait that’s two things. Um… my sil-ver, no wait, my gun. What am I talking about? It’s obvi-ously my silver.

I’D LIKE TO BE REMEMBERED AS...

Doing more harm than good, no wait, these questions arehard!


The last one you have before you die.

www.black-butter.co.uk

B L A C K B U T T E RR E C O R D S T W I L L I A M S

COMPILED by: SOPHIE JAMES

F UND001188 TRAPMAGAZ INE .CO .UK

DUBSTEP PIONEER, LONG-TIME FWD>> RESIDENT AND NOW

DARLING OF THE TECHNOWORLD, YOU’D EXPECT APPLEBLIM

TO BE ONE OF THOSE POUTING, ULTRA-SERIOUS TYPES, WITH

PLENTY OF ATTITUDE AND NOT MUCH TO SAY. IN FACT HE’S

THE COMPLETE OPPOSITE, AND HE PLAYS TRIX AT FOUND ON

14 OCTOBER.

MY NAME IS...

Laurence, Laur ie, Lewis Whiskey, Appleface, Bl im Uni t ,Lozzer, Lozze l tov, Dubste in, Appleyeveraf ter, and many moretoo s i l l y to put here!

YOU MAY KNOWME ALREADY FOR...

Being a ta l l geezer who puts out records every now andagain and l ikes to keep th ings t idy and clean!

WHEN I’M NOTWORKING YOUWILL FIND ME...

Scour ing char i ty shops for tunes, buy ing books about Br is to larch i tecture - I would've sa id f rom The Beat Goes On inCotham, Br is to l , but i t c losed down - I am GUTTED. Youknow when you f ind somewhere where you can trust thebuyer ’s taste in pret ty much anyth ing, v ideos, DVDs, books,music - I cou ld walk in there any t ime and walk out wi thsometh ing br i l l iant , f rom old jungle 12s to RaymondChandler books, to o ld horror v ids. . . . . .You are missed!


To own a Roland TR-909 drum machine. They are juststup id. I t 's l ike the 808 to h ip-hop, EVERYBODY who lovestechno loves the sound of the 909. I got to see one inact ion a couple of t imes th is year, once at We Love Sundaysat Space in Ib iza where Jeff Mi l ls jammed out for 20 minuteson just the 909, i t was a reve lat ion.

Hear ing that machine going stra ight in to a system, wi th justThe Wizard at the contro ls of the one machine… You're soused to hear ing i t under other sounds, to hear i t in i ts nakedglory - the sh i t Mi l ls d id wi th i t was retarded - banginthe box!

The other p lace was th is incred ib le fest iva l Labyr inth inJapan, way up in the forests outs ide Tokyo. They have acommitment to l i ve performance, and the 808 and 909bare ly lef t the stage al l weekend - they were the starsrea l ly ! Seeing Atom Tm, Tobias, and Morphos is a l l use the909 and other ana logue gear c lose up was incred ib le. . .Machine funk in essence.. .


Become a hermi t , l i ve on a farm, get a dog and a cat (sothey can be mates) , learn how to grow organic vegetab les,get some chickens and pigs, go proper rust ic ! Learn aboutar t and history, and go on lots of ep ic walks. I 'd love to walkround the whole coast of Br i t ia in - I love the program Coast ,I rea l ly am a bor ing bastard!

YOU MAY BE SURPRISED TO KNOWTHAT...

I have a very n ice Model 4001 Rickenbacker bass gui tarwi th a very cool p inup gi r l on i t . . . .

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

My mates. I am a natura l ly depress ive person, and I 'mamazed my mates persevere to drag me out of my BS sooften! So big up to them, I owe them mass ive ly. . . I wouldlose i t wi thout them.


My fo lks used to l i ve near th is o ld ru ined cast le in Devon,ca l led Berry Pomeroy. I t actua l ly turns up in those MostHaunted books; i t 's supposed to be one of the mosthaunted places in the UK.

Me and my mate Necta Selecta f rom Subheavy Soundsystemused to walk to i t and muck about there, and we endedup refer r ing to i t as 'The Rave Dream' because the placelooks l ike i t was bui l t to be raved in! I t 's in th is perfectdeser ted va l ley, in the midd le of the countrys ide, you cansee where the stacks would go, where the decks would go,there's even a perfect backstage bi t ! We became obsessedwi th the idea! One day, one day. . . The Rave Dream shal lbe rea l ised!

A P P L E -B L I M


THE VISION

THE DEBUT ALBUM 31.10.11FEATURES THE SINGLES:

THE VISION (LET ME BREATHE) FEAT. JESSIE WARE

ON MY MIND

WWW.JOKEROFFICIAL.COM WWW.4AD.COM

Memor ies of th is year ’sOut look Fest iva l are st i l lf resh in our minds. Onceagain, for a few scorch ingdays in ear ly September,Croat ia became the bassmusic ep icentre of thewor ld, as the biggestnames from dubstep,gr ime, reggae, drum &bass and beyonddescended on the ru ins ofthe anc ient For t PuntaChr is to to g ive thethousands of ravers inat tendance an exper iencethey’ l l never forget .We could wr i te thousandsof words about howamaz ing i t was, butinstead we thought we’dlet p ictures do the ta lk ing.Thanks to Marc Seth i forthe beaut i fu l photographs,and thanks to a l l a tOut look Fest iva l for yetaga in g iv ing us one of thebest weeks of our l i ves.

Need For Mirrors is the meeting of minds between Mosus and HLZ.Since a chance meeting three years ago, the London-based duo hasproduced music for some of the drum & bass scene’s most prestigiouslabels, o0ering their own cultured take on the genre. September sawthe launch of Zoltar, the pair’s carefully conceptualised label that willprovide a home for their productions as their profile continues itsinevitable growth.

We caught up with NFM to talk about their future plans and whyZoltar is more than just a record label...

TRAP: NFM are rapidly climbing the ranks within the drum & bassscene. What would you attribute this to?“In the last couple of years we’ve been spending every spare minute inthe studio expressing ourselves creatively and learning as much aspossible. When there are two people in a space sharing emotions, thedynamic doesn’t always translate cohesively, and I think now our musicreally reflects us as a group and not as individual artists. We thinkmost artists go through periods of self doubt and have these issues ofconfidence and believing in themselves; it can affect your work andearly on we felt this was the case, but now we just seem to bepowering forward and it shines through in our music.”

TRAP: There's a very nostalgic sound to your productions, harkingback to the late 90s and early-00s. Have you been conscious of thiswhile making your music?“The late-90s D&B sound is something we both appreciate. We like thedynamics, conceptual aspects and the analogue mixdowns. It’s l ike aromantic period for artists who weren’t involved in that era. The sleeveart and volume of classic music that's sti l l as current and emotive 10years on makes for the perfect starting point for some of ourcomposit ions. But it’s just that; a starting point. We listen to so muchdifferent music - we could be influenced by a Joy Orbison or Boddikatrack, or it could be a new Kanye West beat, a soundtrack orsomething going on outside. Usually, it's a new piece of software orhardware that dictates the rest of the composit ion.”

TRAP: You’ve just launched your imprint Zoltar. What’s behindthe name?“Zoltar is the name of the fortune tel ler machine from the 1980s fi lm

R E F L E C -T I O N

E T E R N A L

‘Big’ featuring Tom Hanks. It has some dark magic, some mystery, aswell as some mechanics behind it. It’s also a nice name to say and referto, which is important so it can hold its own against the names of ourtracks and imagery.”

TRAP: What sets a Zoltar release apart from your regular 'add to cart'D&B releases?“We want to break boundaries and take risks with the art and packaging.By keeping it edgy and drawing on different emotions, we try to capture afeeling of what the music could sound like just by looking at the artwork.The first three singles come in a uniform inner sleeve that has then beenhand drawn and has the track names on one side. Each single isdistinguishable by its own colourway. The outer sleeve is mirrored foi lcard with a triangle die cut on the back, enabling the viewer to see someof the inner sleeve housed inside, while gazing back at their owndistorted reflection. The labels are also image based with no text.The final look is something very 70s and sci-fi in design.”

TRAP: Looking at the Zoltar blog, you’ve developed an interesting visualscrapbook of design and conceptual art. Do you have any plans to ex-pand the label into other projects?“The web blog is there to express ourselves visually while we are in thestudio, and to interact with our fans on another platform outside of theclub environment. Maybe it wil l lead onto other projects; we have a clubnight running at East Vil lage once a month and we’re interested in fi lmscores, music videos, working with other artists and maybe someapparel. We have so many ideas.”

TRAP: What’s been your most important release?“Our track ‘Lofar’ on Metalheadz has opened the most doors. Our worktends to have a narrative and cinematic quality, as we get a lot ofinspiration from films and wide screen music. The track explores variousfacets of the Metalheadz experience, as we wrote it especial ly forthat label.”

TRAP: Any plans for a NFM long-player?“We hope to start producing albums in the future; it's al l about timing.We could put out an album now with straight singles, but it wouldn’trepresent what we are about or trying to say.”

TRAP: When you’re not spending hours in the studio toiling over beats,what do you get up to?“Watching fi lms, l istening to music, reading, looking at art, dreaming anddrinking coffee. But if we didn’t have music at al l, I'm not sure what wewould be doing, it would be something creative.”

TRAP: So, what’s next for NFM?“We have a four-track project on Metalheadz out very soon. It's brokeninto two 12s and a digital EP. One track, ‘DFTF’, features MC DRS andwil l have a music video. Zoltar 002 and 003 wil l also be dropping soonand we also have fol low up release on Symmetry as well as material onKrust’s Rebel Instinct. And we have music forthcoming on Dispatch,Project 51, Integral and a remix of Craggz & Parallel out before the endof the year.”

www.zoltarzoltarzoltar.com

N E E D F O R M I R RO RSWORDS: AndyHayes


N o m a t t e r w h o y o u a r e , o r w h a t y o u d o , t h e r e a r et i m e s i n l i f e w h e n i t s e e m s l i k e e v e r y t h i n g i sf a l l i n g i n t o p l a c e a n d t h e r e c o g n i t i o n y o u ’ v e b e e n

w o r k i n g f o r f i n a l l y s t a r t s t o a r r i v e . F o r g e n r e - t w i s t i n g D Ja n d p r o d u c e r, L i l S i l v a , t h e s u m m e r o f 2 0 1 1 h a s b e e nt h a t t i m e .

T h e d a y s a f t e r O u t l o o k F e s t i v a l a n d N o t t i n g H i l l C a r n i v a lD e v i a t i o n p a r t y s a w t w i t t e r s e t a l i g h t w i t h g l i t t e r i n gp r a i s e f o r t h e a r t i s t ’s D J p e r f o r m a n c e s . A f t e r s p e n d i n gt h e l a s t c o u p l e o f y e a r s f o r g i n g a r e p a s o n e o f t h eu n d e r g r o u n d ’s m o s t s p a r k l i n g t a l e n t s , o v e r r e c e n tm o n t h s t h e w i d e r b a s s m u s i c w o r l d h a s s t a r t e d t o t a k es e r i o u s n o t i c e o f t h e y o u n g B e d f o r d - b a s e d D J a n dp r o d u c e r.

“ I ’ v e j u s t d o n e w h a t I ’ v e d o n e f r o m t h e s t a r t a n d I t h i n ke v e r y o n e ’s p i c k i n g u p o n i t n o w, ” L i l S i l v a e x p l a i n s w h e na s k e d i f h e f e e l s h i s p r o d u c t i o n o r D J i n g h a s a c t u a l l ye v o l v e d o v e r t h e p a s t f e w m o n t h s . “ P e o p l e a r e s t i l lt a l k i n g a b o u t t h e f e s t i v a l s a n d ‘ C h e e s e & B u n ’ - t h a t ’sa l l I k e e p h e a r i n g - i t ’s a b i t m a d . ”

If you’re familiar with one of Lil Silva’s club sets, you’ll know

they’re usually brimming with untitled, unreleased material

brought to experiment with on a live crowd. As he himself

says, “Every other show, I’ll make quite a few new tracks and

test them out to give me more ideas. The amount of voice

memos on my phone of me humming or beat boxing ideas is

a joke.”

It’s interesting, then, that his ever expanding hard drive of

beats, samples and drum loops has only resulted in a

handful of carefully selected releases. From a series of 2009

white labels that included his remixes of seminal grime track

‘Pulse X’ and skank anthem ‘Seasons’, to the fourth

instalment for the Night Slugs EP series – the fluorescent

synth laden, carnival drum-heavy tracks of ‘Night Skanker’ -

and the more recent ‘Patience EP’ including sound-of-the-

summer track ‘Cheese & Bun’, Lil Silva’s small yet punchy

back-catalogue is quite some body of work.

L I L S I LVA

I T ’S MA D H OW MU C H K N OW LED G E

S OM E P EO P L E H AV E O F YO U R

T RAC KS . .

“

WOR D S S O P H I E T H OMAS


As we al l know, there’s noth ing music journa l is ts l ikemore than to t ry and labe l and pigeon-hole music, evenwhen the producer behind i t has no such concerns.Consequent ly, L i l S i l va’s penchant for exot ic drums,brazen gr ime synths and that hard-to- imi tate march ingmomentum that has every goon in the room on the i rfeet , h is music has been labe l led as everyth ing from UKfunky, dubstep and gr ime to jack ing house. So, whi le L i lS i l va may be dis inc l ined to descr ibe h is music, ta lk ingabout i ts inf luences comes easy to h im:

“My older brother was a DJ; he’s the reason why I evengot into product ion. I used to mix wi th h is v iny l ; he wasinto stuff l ike K-Dope, Kar i zma, even garage l ike ToddEdwards. We had shi t- loads of records. We’d go toVi rg in la te n ight and be search ing through a load ofwhi te labe ls . We’d buy the shop, i t was an absolutejoke! Then you’ve got gr ime, I used to fo l low these guysfrom Bedford ca l led Macabre Uni t , one of them actua l lytaught me how to use Reason. I f you l is ten to the i rs tuff , you can sort of see how my music comes fromthat . I used to love the i r product ion.”

L i l S i l va’s la test so lo output comes in the form of the

f i rs t EP re lease for London taste-maker Seb Chew’s

labe l Good Years; ‘Pat ience’ . From the incessant voca l

sampl ing and aggress ive c lacks of the t i t le t rack, to the

crowd-churn ing sub bass of ‘Cheese & Bun’, and the

dreamy, midsummer heat of ‘On Your Own’ (voca l led by

Sampha), the neat ly conta ined record boasts an

unapologet ic Si lva stamp. But was the task of set t ing

the pace for the Good Years impr int an int imidat ing one?

“Nah. I ’ve got a good team behind me. Being aff i l ia ted

wi th Night Slugs made people exc i ted about my name

and what was going to come next . I knew ‘Pat ience’

was going to do wel l , but not th is wel l . Espec ia l ly

‘Cheese & Bun’, everyone was say ing i t was l ike a

‘Seasons Part I I ’ . A lot of people are interested to see

what Good Years are going to do next so I ’m proud of

how we set the pace for i t . ”

L i l S i l va possesses a quiet conf idence when discuss ing

his craf t ; there’s none of the shy, in t rover ted qual i t ies

so of ten present when elect ron ic ar t is ts step out f rom

behind the decks. In fact , i t ’s c lear that he welcomes

and thr ives off the d i fferent react ions he rece ives f rom

club crowds.

“ I t ’s mad how much knowledge some people have of

your t racks,” he ref lects. “L ike when I p layed in Par is

recent ly they weren’t that up to date, but they were

amazed by the sound. Portuga l was a bi t d i fferent ;

they’ re focused on everyth ing you’re do ing and they

were watch ing how I was DJing and stuff . ”

In that sense, does the s imple act of p lay ing out

become more of a theatr ica l performance for L i l S i l va?

“That ’s what i t is ! I t ’s l ike you’re look ing out at a bunch

of people just star ing at you wi th the i r mouths dropped.

And you th ink, ‘are they l ik ing th is?’ And then you play

your last tune and everyone goes mad.”

Indeed, i t would seem that ‘ last tune euphor ia ’ can get

to even the best of us at t imes, i f a v ideo of L i l S i l va

MCing at a recent g ig at BC12 in Amsterdam is anyth ing

to go by. . . .

“Haha! Look, everyone got on the mic,” he protests.

“Mosca got on the mic, Bashmore got on the mic. That

was a very drunken moment. I saw the v ideo and

thought, ‘nah, that d idn’t actua l ly happen!’ ”

KEEP UP TO DATE WITH LIL SILVA’S SHOWS AND

RELEASES AT WWW.SOUNDCLOUD.COM/LILSILVA.

ust over five years ago, as dubstep began to take root as the

dominant force in UK bass music, a 16 year old, grime-

obsessed producer from Bristol was beginning to turn heads

with his own unique take on the 140bpm template. With melodies

for days and a sense of pure funk absent from so many of the

over-engineered productions of the times, the one they called

Joker suddenly found himself among the most talked about names

in the underground.

Taken in by dubstep luminary Pinch and other older members of

Bristol’s notoriously rich bass-music culture, Joker’s trajectory

was set clearly for the top from the start. Those who saw Mary

Anne Hobbs’ 2008 Documentary on Bristol’s dubstep scene wil l

remember the BMX-riding kid who had very l itt le to say for the

cameras, leaving tracks such as ‘Gully Brook Lane’, ‘Play Doe’

and ‘Snake Eater’ to do the talking for him.

Several years later, things have changed beyond recognition for

the now 22 year old. While tracks such as 2008’s ‘Purple City’

continued to prove Joker’s underground credentials, remixes for

hipster-loved bands such as The Heavy, Turboweekend and The

Gossip enabled Joker’s deeply melodic and textured sound to

really shine, and were instrumental in taking dubstep to new

audiences. The success of the last few years is clear as Trap

arrive at Joker’s newly-bough flat on the outskirts of his home city

to discuss his debut album, ‘The Vision’. After numerous attempts

to call up to him on the intercom, eventually we’re ushered inside

by his gir lfr iend, who apologetical ly explains that Joker was up

making beats unti l just a few hours earl ier, and sits us down in the


joker

WO R D S: J O N CO O K PH OTO S: ZAC H ERY SA ITOTI

jlounge, in front of one of the biggest televisions we’ve ever seen.

Eventually, Joker strol ls into the room, wearing sunglasses and

making his apologies for not being up to greet us.

“It seems l ike it might have been a bad idea moving here,” he says

in a relaxed, soft voice as he collapses into the huge leather sofa

that wraps round the room. “We’ve been getting noise complaints

and we just got a letter saying the council are now getting

involved. I might have to look for somewhere else.”

Leaning back and obscuring his eyes behind his Ray Bans, it’s

impossible to judge whether Joker’s particularly bothered by the

letter he’s just received. But as he slowly exhales a plume of

cigarette smoke across the room, it’s pretty clear he’s not that

fussed.

“My mum lives on the same road, this place came up cheap and I

wanted to get a room for the studio, so I could make as much

noise as I wanted,” he explains. “That’s the only reason I

moved out.”

Making noise is, as you’d expect, something Joker loves to do.

In the next room is one of the most impressive studios we’ve ever

seen, packed with the vintage hardware and bespoke rack units

that give Joker’s music its notable gloss and heavy-weight sound.

Having only just recently moved out from his mum’s, and with the

noise complaints in mind, we have to wonder how she handled

living with the wall-shaking bass that resides at the heart of her

son’s music...

J O K ER

I t o o k u p m u s i c a n d b ecam e

a b i t o f a b i t c h a n d was

s ca r ed o f r i d i n g .

“



“Towards the end she started really supporting me and what I wasdoing,” he says. “At the start, though, it was just me being anuisance making noise and keeping her up at night. But she’scool now.

“When we we’re younger, my friends and me would beg our mumsfor £10, just so we could go to Rooted Records and buy the latestWiley tune or whatever. We’d get all our records together to makea set and I’d have eight or ten speakers rigged up around mybedroom. I’d just jack it up and we’d all make a set. My mumwould burst in the room and scream ‘You’re taking the piss!’You’d hear her over the back of the recording. She used to alwayscome in the room when we were dropping that rhythm, thatspecial one. We did used to take the piss though... But youcouldn’t have it on quiet; the second it was loud, we’d feel like wewere in a rave!”

It’s a scene that anyone that grew up with a mate with a pair ofdecks and a group of friends who couldn’t leave the mic alone willknow all too well, and it’s also one that will be familiar to anyonewho’s seen the video for one of the stand-out tracks from ‘TheVision’ - the Buggsy, Shadz, Scarz and Double featuring ‘Back InThe Days’.

“You see in the beginning of the video, we’re at my mom’s housedoing a set; she comes in, cusses at us over the music and we allleave – that’s the shit that used to happen back in the day,” heexplains.

“When I was doing the album, I knew I had to make a track withthe boys. So that’s what that track is remembering; how thingswere back in the day when we were kids making music in ourbedrooms.”

Those who’ve seen the video will know the plotline, which seesJoker and his fellow Kold Hearted Kru members Buggsy, Shadz,Scarz and Double begin the video as kids in Joker’s bedroom, andthen transforming in to their modern-day selves as they leave thehouse and climb on board a couple of Joker’s much-lovedsuperbikes. It’s a demonstration of how far this group of friends,and particularly Joker, have come over the years, with each ofthem finding their own success.

Shadz is now better known as solo artist Javeon McCarthy, andfor working with L-Vis 1990 & The Neon Dreams and JulioBashmore, while million-mile-an-hour rapper Buggsy has hadquite some year himself, dropping his debut album and playingfestivals world-wide to massive acclaim. It’s his opening line of“Joker, we’ve done it” on ‘Back In The Day’ that acknowledgesjust how far the crew have come. Joker is, however, cautious ofputting too much emphasis on that opening line...

“When Buggsy says ‘We’ve done it’, it’s not to say we’ve made it.We haven’t; it’s saying that it’s happening. We’ve been playing inclubs since we were like 13. Getting a tenner to get a taxi home,and thinking ‘Yeah, I got paid!’ We used to play Reality FM acrossthe road from Slix on Stokes Croft in Bristol. That was ghetto.You’d walk up this flight of stairs, past bin bags and rats, andinside the station were just flies, thousands of them. It wasfucked, but it was fun.”

The squalor typical to tales of pirate radio couldn’t be further fromthe world that Joker now finds himself operating within. Thesedays, he’s more likely to be found in the plush studios of RadioOne or 1Xtra, than a dirty squat with a couple of belt-drive decks.Attempting to delve deeper into what it is that drives him, we ask

Joker if he always knew the position he’s now in would come.“Where I am now is sort of nowhere,” he retorts. “If I look atwhere I am now expecting to be somewhere then this is as far asI’m gonna get.”

So where is ‘somewhere’ for Joker?

“Woosh... Space. I dunno...” he offers, standing up from his seatto tap the ash from his cigarette out a window.

“I’m just doing my thing,” he says, sitting back down. “SometimesI try to set goals, it helps if you can look at a board and tickthings off; that’s nice. But most the time, I’m just freestyling life.”

Freestyling life isn’t an option that’s open to everybody – but thenJoker’s clearly not just anyone. With underground fame thrust onhim at an early age, and with a talent for doing what he lovesmost in his own unique way, the still-young producer’s naturallyplayful and mischievous personality has never been forced to betempered by office work or intense academic study.

“I’m doing ok, but I get distracted by motorbikes and computergames,” he says as if to confirm this observation.

“Before I used to do music, I did biking. I was taking it seriously,but then took up music and became a bit of a bitch and wasscared of riding. But when I started getting money, I’d alwayswanted those bikes I could never afford. So I got them all. I’vehad four in less than a year. I’ve got two of them now - a YamahaR6 and a KTM 450.”

While you may be surprised to hear of Joker’s love of motorbikes,his other stated passion is one that’s obvious to anyone that’sever heard his music. In fact, the first track that took Joker’ssound to audiences way beyond the ultra-underground world ofgrime in which he arrived a s a 16 year old, and into the then-exploding world of dubstep, was the Metal Gear Solid sampling‘Snake Eater’ for Soul Motive. As is always the case with realfans of any given subject, it doesn’t take much to get Jokernattering away about computer games, sitting up in his seat andremoving his sunglasses as he does so.

“I really love the older stuff, the Sega games like Streets Of Rage,Sonic and Shinobi. All the soundtracks for them, I’ve got them onmy computer and I just sit and listen to them like they’re normaltracks. I’ve even put them on CD and had them on in the car withmy mum while she’s driving, and she’s losing her mind causethey’re some racing game sound track on!

“But I think most games these days are missing good originalmusic. Obviously, with Blu Ray discs, you can fit so much stuff onthem, so all they do is hit up Universal and EMI for music to puton the games. But I don’t want to hear Chase & Status while I’mplaying a game; it takes you out of that world. You’re thinking‘This is so deep’ – then ‘Wa Wa Wa’. Music brings you into thevision of the people that thought up the game, so it needs to beoriginal. The last game I played that had proper original musicthroughout the whole game was Metal Gear Solid. The Japanesethink clever.”

We take a break and move into the studio next door to take someshots of Joker at his desk, surrounded by hugely expensive synthsand equipment. At this point, he’s a very different character fromthe sleepy, almost monosyllabic guy we met at the start of theinterview. Playing us the track that was responsible for keepinghim up all night, and offering to swap the enormous synths around


for different shots, there’s little doubt that this is Joker in hiselement and at his most comfortable.

Returning to the lounge, conversation moves to the reason we’rehere today, the album. ‘The Vision’ is notable for the featuredvocalists that break up the body of instrumentals that form itswhole. Turboweeked’s Silas returns to vocal duties on ‘Here ComeThe Lights’, following up Joker’s attention-grabbing remix of theband from 2009, while Jay Wilcox, Jesse Ware and WilliamCartwright all bring an injection of personality, hipster swaggerand, most importantly, commerciality to Joker’s syntheticsoundscapes. However, while these huge names will undoubtedlyhelp sell ‘The Vision’ to the mass market, it’s the aforementionedBuggsy who appears not once, but twice on the album. Was it aconscious decision by Joker to bring his childhood friend through,now that the spotlight is beaming down on him?

“No, we just ended up making two tracks that worked and wereright for the album,” he says flatly, before reflecting deeper, “Ifthere’s one person that doesn’t seem to get writers’ block, it’shim. He doesn’t even write his bars down. I could say ‘Write abar about jacking his camera,’” he says pointing at Zac, ourphotographer, “and throwing you out the window’” he nods to me,“and 15 minutes later he’ll come with something. And you’ll belike ‘did you really just write that’. It’s crazy.”

Some producers make their name by bombarding the world withtrack after track and remix after remix – but that’s never beenJoker’s way. He’s always adopted a quality over quantityapproach, and the last couple of years have seen very few tracksfrom the producer actually surface. So, in writing ‘The Vision’, didJoker make tens of tracks and then whittle them down to the 12that make up the album?

“Pretty much what I made is what the album is,” he reveals.“I made ideas – when I start a tune, if it doesn’t sound good rightaway, I give up, next one. So once I started those, I finishedthem. But I find it a lot harder to write music now than I used to.When I was younger, I’d be watching TV, and I could see a wholetrack in Logic or Reason in my mind, and I could hear it. I’d go into my bedroom and go ‘shhh shshh shhhh’ and it would just comeout. Now, sometimes I have to wait for things to come.Sometimes it flows, but sometimes I have to really try.”

Time is flying by, and we’ve had more than enough of Joker’s timefor one day, so we pack our stuff and ready ourselves to leave.There’s time for just one last question though – growing up in oneof the most musical cities in the world, packed with bass-culturelegends, was there anyone in particular that helped inspire ordrive Joker on to where he is today?

“Yeah, I get inspiration from everyone around me who is doingwell. When I was younger, I used to go to the Full Cycle studiosand see Roni Size, Krust, Die and Clipz... I used to think ‘This iscrazy’. I’d always go in Clipz’s room and then go home so hyped.Anyone around me who is doing well, that makes me want to dowell. When I was kid, I got a lot of inspiration from The Neptunes– I love them to a next level, and I used to watch videos withPharell talking. As a kid, I thought if they can make it, thenmaybe I can...

“But I haven’t made it. I’ve not even started yet. If you think Ihave, you’re not gonna get anywhere bruv. I’m doing things theright way, but if I think I’ve made it now, I’m never gonna get anyfurther than this flat and stuck in dubstep...”

The Vision is out 31 October on 4AD.

J O K ER

S om et i m es I t ry t o s e t g oa ls ,

b u t m o st o f t h e t i m e ,

I ’m j u st f r e esty l i n g l i f e .

“

Back in August, dozens ofthe greatest graffitiartists on the planet setabout turning one of themost miserable streets inBristol into the largestpermanent street artexhibition in the world. Oldoffice blocks, disusedbuildings and 1960sarchitectural monstrositiesbecame the canvases for someof the finest graffitiyou’ll find anywhere in theworld.

The brainchild of grafflegend Inkie, the eventattracted everyone from NewYork’s legendary TATS Crewto street art pioneer NickWalker and local hero Cheba,


EV I Lgiving them all theopportunity to showcasetheir ridiculous talents ona massive scale.

Tangent Books are set torelease ‘See No Evil: TheBook’ this October, packedfull with photographs of theart that you’ll findadorning the walls of NelsonStreet in Bristol citycentre. Over the next fewpages we present a selectionof images from that book,taken by photographerStephen Morris.

See No Evil: The Book is outnow on Tangent Books.

www.tangentbooks.co.uk

Explosive, future-thinking D&B duo Camo & Krookedcame bursting out of Austria in 2007 with a slew ofhigh-octane releases on premium labels such asBreakBeat Kaos, Renegade Hardware, Mainframe, Viperand Audio Porn. Fast forward five years and the pairare now signed to Hospital Records, touring a liveshow and celebrating the release of their album ‘CrossThe Line’ – a 14-track rollercoaster ride of emotions,delving into D&B, dubstep, electro-house andeverything in between. Trap caught up with the twoAustrians to find out more...

TRAP_Who are Camo & Krooked?“We’re Camo (Reinhard Reitsch) aged 27, and Krooked (MarkusWagner) aged 22, and we’re based in Vienna, Austria. We’vebeen producing electronic music individually for about eightyears now, and joined forces about four years ago. We’ve bothbeen studying at university and skateboarding together forseveral years.”

TRAP_You signed to Hospital earlier this year - how'sthat working out?“Hospital Records are really supporting us a lot and are lettingus have total freedom of creativity, which is probably the mostimportant thing for us. It feels more like a family than a businessand the Hospitality parties are just the best D&B events we haveever played at!”

TRAP_You don't just make D&B, do you?“No. On our new album you can find a lot of different genres; wehave a tune that goes from electro house to D&B, some dubsteptunes and even an indie house influenced vocal bit. Our maininfluence at the moment is French and electro house – artistslike Justice, Sebastian, Daft Punk, Wolfgang Gartner.”

TRAP_What’s the bass music scene in Austria like?“Austria, especially Vienna has a really healthy scene, a lot ofparties with a big and very motivated crowd. Vienna has a longhistory of D&B music starting back before the millennium, whenpeople like D.Kay, Raw.Full, the Trife Life crew and the famousFlex club suddenly made it one of the most important places forD&B worldwide.”

TRAP_Do you have different roles or skills in the studio?“Overall, everything is about 50/50, but Krooked is the one wholikes to fiddle about with the melodies to make them as goodand catchy as possible, while Camo is responsible for the final

CAM OA N DK RO O K ED

WWOORRDDSS B e l i n d a R o w s eC R O S S -

I N GB O R D E R S

CAM O & C RO O K ED

H o s p i ta l f e e ls m o r e l i k e a

fam i ly t h a n a b u s i n ess .

“

mixdowns and the arrangements. All the tunes are developedwith constant feedback from the other party, so it’s a fairprocess. Also, if there are technical problems, Krooked knowshow to fix it - he is a big IT geek and knows a lot aboutcomputers, while Camo brings in a lot of endurance from hisskateboarding career. He has been skateboarding for 18years now!”

TRAP_Your new album ‘Cross The Line’ is out now -what should we expect?“A lot of new and fresh drum & bass! With this album we tried tobreak new ground for us and make some never-heard-beforesounds and arrangements. We feel it’s a much more maturesound; more real song writing and less three-note loops. It wasreally exciting to work with all the vocalists we have on thealbum – Ayah Marar, TC, Shaz Sparks, Jenna G and Skittles.”

TRAP_So a lot of vocal content then… Tell us about thevocalists on the album?“‘In The Future’ was the first album tune we made, about twoyears ago, when Futurebound was over for a few days. It was aninstrumental for a long time, until we heard that Jenna G was inAustria. We love what she came up with! Ayah Marar wasHospital’s recommendation and, we have to say, it was probablyone of the best recommendations we could have got. Sheabsolutely nailed the vocals, and was great to work with.

“We’ve worked with Shaz Sparks before; her husband Robbie isa producer, so he knows how to record vocals properly. A lot ofpeople don’t know that TC has been singing for years, not onlyon his first album, but also on Pendulum and Sub Focus tunes.He’s quite an underdog when it comes to singing; he deservesway more recognition. And we found it super easy and great towork with Skittles; an upcoming rapper from Manchester.”

TRAP_We’ve been hearing rumours about your liveshow... Can you tell us more?“The centre piece of our live show is the LED Cage, which playsvisuals in front of and behind us, giving things a 3D feel. As wellas this, we have Messy MC on board as the host MC and AyahMarar and TC on the vocals. Playing live feels like a dreamcoming true and we are so excited to have that possibility.”

TRAP_What else have you got lined up for the rest ofthe year?“We are touring the UK with our live show and DJ setsthroughout the autumn, playing a lot of Hospitality events andother shows, plus an Austria album tour in December. Besidethat, we’ve been working on soundtracks for videogames, sowatch out for our tunes when you play your newest purchase!”

TRAP_And finally, can you sum up Camo & Krooked infive words?“Diverse. Fun. Energetic. Friendly. Ambitious.”

‘Cross The Line’ is out now on Hospital Records.


Presents

See No Evil: The BookAvailable now from www.tangentbooks.co.uk

stnnteenseesrePPr

hoSee N

kEvil:

74 Stokes CroftBristol

BS1 3QY

WWW. IDLEHANDSBR ISTOL .COM

A L I X -P E R E Z &R O C K W E L LWORDS : J O N C O O K

It’s fair to say that drum & bass isn’t always consideredto be the most ‘fashionable’ branch of the bass musicfamily tree these days. While, in 2011, the genre enjoysunprecedented commercial success and can easily fillcavernous venues with over-excitable students keen towitness the acts they hear on day-time Radio Oneperform ‘live’ shows, it’s rare for D&B’s more refinedand thoughtful side to get the attention it deservesand should rightly expect.

The trend-driving online music press have, for the large part,chosen to ignore drum & bass in recent times, opting insteadto shower praise on those that create their beats at 130bpmin a way that, if we’re honest, we at Trap have always found alittle perplexing. Sure, the latest jump-up wobbler is nevergoing to win its producer critical acclaim from a jaded oldtechno journo, but to ignore the genre wholesale is todisrespect the many incredibly talented and forward-thinkingcreatives that do operate at the faster tempo of drum & bass.

Two such individuals are Alix Perez and Rockwell. Bothsigned to Friction’s Shogun Audio, the London-basedproducers are responsible for some of the finest bass-drivenmusic of recent years, regardless of genre. As part of anexclusive camp of artists, each pushing an individual sound,but unifying behind a mandate of total quality and consistentoriginality, they help make Shogun the force it is; regularlyselling out label events in Brighton, Newcastle and London’sCable and attracting a crowd you’re not likely to see at toomany other drum & bass raves.

To mark its fiftieth release, Shogun is celebrating with therelease of ‘Way Of The Warrior’, a compilation that featuresall of the label’s home artists and some very special guests.With that in mind, Trap caught the train (and the tube, andthen the bus) all the way out to Crouch End in north Londonwhere Alix and Rockwell (Tom) share a house to find outmore about life on Friction’s trailblazing imprint.

TRAP: You two are co-workers, good friends and housemates. How did you first meet?

Tom: “I met Alix through a mutual friend, Neil Specific, when Imoved to London from Cardiff about four years ago. Alix wasalready signed to Shogun then, and I was still very muchunsigned. There was never an ulterior motive though... Actually,the plan was to move in, get mates with Alix and pay him to playmy tunes. But in all seriousness, he was the first person to playmy music. I was just sending out tunes for an opinion, but I gaveAlix a track called ‘Drums’ and he started finishing his set withit, which led to it getting picked up by Shy FX forDigital Soundboy.”

Alix: “When Tom moved in, I’d already been signed to Shogunfor a while and was working on ‘1984’, my album. He got to seeall the stress and pressure that went into the album writingprocess right away.”

TRAP: Tom, you debuted on Shogun just last year with‘Full Circle’ and ‘Underpass’ – did living with Alix inspireyou to try to join him on the label?

T: “When I wrote that tune, I never thought it would come out onShogun. Again, like ‘Drums’, it just happened organically, Ididn’t make that track thinking it would be something thatFriction would sign for Shogun, I never aimed to do it.”

A: ”Icicle battered the shit out of ‘Full Circle’ and then Ed(Friction) had it... As a label manager I think you have to beconvinced that you want to sign someone. That tune becameTom’s breakthrough and Ed saw we were all playing it in thecamp and supporting it, so it was natural to bring him in I think.”


“S om et i m es , I ’m a b i tov erwh e lm ed by t h estat u r e o f t h e l a b e lc om pa r ed t o f i v ey ea rs a g o .

A L I X P E R E Z

“I t h i n k d r um & b asst h at ’s i n f l u en c ed byd rum & b ass i s a b i to f a b o r i n g c o n c ept .

R O C KW EL L

TRAP: You mention the ‘camp’. One thing that’s strikingabout Shogun’s artists is that you all seem to have a lotmore in common than just the music...

A: “Yeah, it’s a family thing really – we’re all mates and can havea laugh together, we all share the same taste in music. We’ve allgot genres we like more than others, but we havesimilar interests.

I’ve been involved with label since early, in 2005, I rememberwhen Spectrasoul we’re starting off, Dave was working with thelabel, we made a few things together, it just grew. And Icicletoo; we all knew each other and were talking before we wereanything to do with Shogun. We were trying to help each otherout and we all had the same outlook, and I think that’s why weended up being a unit.”

T: “We’re all on the same vibe – like Alix said, we share a lot ofcommon ground musically, but then everyone has their certainavenue that separates them from each other, and I think thatmakes it work. Alix is into his thing, Icicle is bang into histechno, I’m into weird IDM and Spectrasoul are well into theirbass music. There are enough similarities and enoughdifferences. You get the vibe sometimes that a lot of people whomake drum & bass are just being influenced by drum & bass. Ithink that’s something all of us on Shogun can say, is that webring our influences from outside the scene. I think drum & bassthat’s influenced by drum & bass is a bit of a boring concept.It’s 2011; it’s time to step away.”

TRAP: The Shogun family’s most recent additions, ThePrototypes, have come as a bit of a surprise to many.They’re known for their peak-time dancefloor tracks –are the label’s loyal fans right to worry that this couldsignal a change in direction for Shogun?

A: “They’re a great addition. It’s reached that stage now wheresometimes I’m a bit overwhelmed by the stature of the labelcompared to five years ago, the amount of dedicated fans.Shogun’s at a stage where it can grow further and hit differentaudiences and I think it’s beneficial for all of us.”

T: “I’m only a recent signing too, so with the Prototypes, bothends of the spectrum have been broadened.”

TRAP: Alix, you’ve been putting out slower tempoedtracks under the ARP101 name for a minute now, andTom, you’ve been writing and playing house recently?

T: “Yeah, I’m writing a lot of house, but I’m keeping it all underthe Rockwell name. It’s proving quite difficult, as sometimes I’mplaying house and some people aren’t feeling it, but then somepeople really like it. The way I look at it is, I’m using the samepalette at 130bpm as I do at 170bpm, the only differencebetween the tunes is that some are 40bpm slower. That’s it,they’re the same sonically.”

A: “For me, doing ARP101, it was appealing because it’s so farremoved from what I do in drum & bass. At first, I kept it quiteunder wraps, I did it because I wanted the music to be appreci-ated for what it is and not have my name attached to it - I thinkpeople were surprised when they found out. I’ve been writing alot of different music for a long time and I just happened to senda couple of tunes to Alex Nut who runs Eglo and he wanted tosign them. I was like ‘Wow!’ I was baffled. I love the Eglo stuff –FunkinEven, Fatima – I was going to Deviation every weekchecking out that sort of stuff so for him to say he wanted tosign it was big for me.”

TRAP: Making experimental house and releasing trackson Eglo; this is the stuff of hipster fantasies. And youguys are known for your high fashion sense too – all thismakes you pretty much anomalous in the geek-packedworld of D&B producers...

T:”I’m constantly told I’m not cool by my girlfriend. And I’m not;I’m a massive geek. I’ve always liked weird music and thingsother people might not like. I’m just being me; people can callme a hipster or whatever.”

A: “Yeah we get that a lot. I wear skate clothes just like I usedto eight years ago. It’s like music, clothing labels change whatthey do, and if I like a certain label then I wear it, just like I woreit before.”

TRAP: But beyond the garms – Tom, you’ve done a FACTmix, and Alix you’ve got another ARP101 single out thismonth. Not many D&B producers get the chance to dothose things...

A: “There is sometimes a snooty attitude towards D&B, but Idon’t let it bother me, I’ve got enough on my plate trying tomake music. People I’ve come across that are successfulbass-music producers who grew up on jungle and D&B, sort ofdisregard it and look down on it. I think that’s a bit sad. We alllove what they’re doing; I find that attitude of ‘It’s dated, it’sgone’ a bit of a shame really.”

T: “It’s a bit insulting in a way. I don’t think there’s a dancemusic in the world that’s harder to make than D&B. I think theguys we have are the most technically skilled engineers in thewhole game.”

A: “At the end of the day, we have such a strong scene, we’reall touring endlessly globally. We saw that at Outlook, with thestrength of the Shogun stage – there were a lot of people therewho wanted to see the Shogun stage as much as they mighthave done the Night Slugs one or whatever.”

TRAP: A lot of that snobbery is usually driven bythe press...

T: “Oh definitely, the bass music guys who are getting massesof hype on the internet; they’re not touring like we’re touring.”

A: “I’ve never had a review of an Alix Perez track on FACT forexample, but the last ARP101 thing I did, I got a very nicereview, which is quite interesting I guess. They’re catering forwhat they want, but that proves there is something there.”

TRAP: Back to ‘Way Of The Warrior’ – after a couple ofyears of everybody darking out their sound, the albumseems to signal a return to a more soulful,liquid direction.

A: “I think it’s time. It all got very techy for a while - recently I’vebeen writing more soulful stuff. It’s needed man, I’ve alwaysbeen about the musical aspect of stuff, as has Tom. I enjoywriting, stripped back, techno style rollers, but I think it’s time tochange it up a bit. It’s nice to see girls enjoying themselves.”

T: “It’s good to keep the balance, it’s not about it getting toodark. Saying that, the tune I did with Phace – ‘Rat Race’ – wehad a day to make it, the intensity of the session came throughin the tune. It’s a lot harder than a lot of stuff I’ve done before,but it’s where our heads were at the time.

“I think one of the really strong things about ‘Way Of TheWarrior’, though, is that you could hear any track and know whoit was straight away. Everyone has a distinct style; thatindividuality is lacking across D&B generally, so again, that’s oneof the great things about the Shogun camp.”

‘Way Of The Warr ior ’ i s out now onShogun Aud io.


B O D D I KA

Talk to me...

For fans of bass-dr iven music, these are exci t ing t imes.With the wal ls between genres having been wel l andtru ly smashed over recent years, in 2011, oncepolar ised sounds, sty les and schools of thought havebeen free to col l ide and conspire with increasinglycreat ive and surpr is ing resul ts.

One such surpr ise has been the r ise of Boddika. Afterprov ing that the drum & bass template st i l l had room foror ig ina l i ty as part of groundbreaking duo Instra:menta land the Autonomic movement, just over a year ago AlGreen decided to slow things down dramat ica l ly and goi t a lone under a new name, l ink ing up with Loefah’sscene-shaping SWAMP81 label and quick ly becomingone of the most ta lked about art is ts in bass music.

I f you’ve been to decent rave in the last 12 months,then you’ l l have heard a Boddika track smash i ts way tothe forefront of the set of any DJ who drops i t .Impeccably engineered and with some of the heaviestbassl ines anyone dare produce, Boddika’s dist inct lyretro, acid- inspired 4/4 sound, created using vintage1980s hardware synths, has been impossib le to avoid.

Recent l ink-ups with Joy Orbison have only seen tobolster Boddika’s reputat ion, and have resul ted in thecreat ion of ‘Swims’ – undoubtedly one of 2011’sbiggest and most def in ing musical moments, and atrack that anyone who went to Out look th is year wi l lknow off by heart . With so much success brewing,Trap couldn’t wai t to track Boddika down to f indout more. . .

You were do ing well as Instra:Mental – what made you

dec ide to switch sounds and go it alone as Bodd ika?

“Just over a year ago, my partner in Inst ra:menta l wentaway for four weeks to Austra l ia , and I was lef t a lone inthe stud io. I wanted to do some more c lub sor t of beatsand I just seemed to fa l l in to a groove whi le I was inthere; I went on a nutty one and wrote about 10 tunes inf ive weeks. Then, when I had a l l that mater ia l together,I was ta lk ing to Loefah a lot at that t ime and he and otherpeople were rea l ly fee l ing i t , so I thought I bet ter star t ana l ias. The bad guy in Robocop is Clarence Boddicker ;I a lways thought that was a rea l ly coo l name, so Ichanged the spel l ing and ca l led mysel f Boddika.”

So, the mus ic we ’ve been hear ing over the last year was all

written in those few weeks?

“Yeah, apar t f rom the recent stuff wi th Joy O. The f i rs t12 on Swamp81 ‘Underground’ and ‘Elect ron’ , then thefour- t rack EP. I d id ‘Boddika’s House’ and ‘Grand Pr ix ’that have come out on Naked Lunch too. As c l ichéd as i tsounds, I was in the zone rea l ly ; I was just on i t ,everyth ing I d id I f in ished. I was just wr i t ing and couldn’tseem to stop.”

You ’ve ment ioned Loefah and SWAMP81 – how d id you two meet?

“ I f i rs t met Loefah a couple of years ago. As Inst ra, weplayed a few of Skream’s b i r thday par t ies; he was a bigfan of what we were doing wi th Autonomic and a greatsupporter. So yeah, we went back to Loefah’s one nightaf ter Skream’s bash for an af ter-par ty. I ’d never met Loebefore, but as soon as I got back there I s tar ted ta lk ing toh im and I just fe l t a connect ion st ra ight away; we had alot in common. I ’m not usua l ly that soc ia l ; I don’t l ike id lech i t-chat i t bores the l i fe out of me, but I fe l t I hadsometh ing to ta lk to the geezer about.

“Af ter that , we stayed in touch. And then I heard‘Footcrab’ by Addison Groove. That was rea l ly exc i t ing tome, because I ’m such a big lover of the 808 and 909;v intage drum machines as a whole. ‘Footcrab’ that wasthe f i rs t sor t of drum machine statement that set every-one off on that mad one. When I heard that , I thought‘Fuck, th is is great . ’ Loe gave me the tunes and I star tedp lay ing them in our Inst ra sets. There was a big turn ingpoint for me around that t ime. We just stayed in touch,we’d meet up and hang out, so as soon as I star ted doingmy own stuff Loe was bang into i t and i t wentf rom there.”

You two share a sense of do ing someth ing new, beyond that

with wh ich you first made your respect ive mus ical impacts?

“Yeah def in i te ly, i t ’s not a consc ious th ing we’re justdo ing what we want. We’re just ro l l ing wi th the t imes; i t ’sn ice to have someone to ta lk to who’s on the same pageas you. I t he lps, makes you th ink you’re not crazy( laughs) . Loefah’s very opened minded musica l ly, he’s amusic lover. He’s just do ing what he enjoys and I respectthat . ”

How would you descr ibe the mus ic you ’re making now

as Bodd ika?

“ I t ’s no secret that I love e lect ro beats. I wanted to br ingsometh ing to the c lub – elect ro beat pat terns have somuch danceabi l i ty and there’s so much scope to work andmove around them. So yeah, i t ’s e lect ro, techno, house,a l l ro l led into one; everyth ing that I l ike persona l ly. I haveB O D D I KA

I d h a d en o u g h a n d wan t ed to

s low i t d own . I d g ot o l d er ,

a n d wan t ed to fo c u s o n

t h i n g s t h at I was act ua l ly

i n t er est ed i n .

“’

’

people come up to me after shows and ask me ‘What sor tof music is th is?’ And I ’m l ike ‘ I dunno’. I t ’s just music toen joy yourse l f to; I can’t tag i t anywhere.”

You ’ve sa id you ’re A b ig lover of house, techno and electro,

but you came to prom inence through D&B. Back in the 1990s,

it used to be so tr ibal – i f you loved D&B, you hated house,

and v ice-versa. Have you always been a lover of all forms

of dance mus ic?

“Wel l , i f I ’m honest . I came from hip-hop. I was a biglover of h ip-hop and then got into hardcore and jungleback in the day and then into D&B. But D&B reached apoint for me by about 1999 that I wasn’t fee l ing thedi rect ion i t was going. You know, in the mid-90s i t wassuch a groundbreak ing and interest ing movement, andthen i t just sor t of swal lowed i tse l f . So when we cameback to the scene as Inst ra:menta l in 2006, in that t imeI ’d been l is ten ing to a lot of other music; techno, e lect roand that .

“We wanted to do someth ing that was D&B, but had ourown take; and that ’s what we did as Inst ra:menta l . Butthen af ter we wrote a track ca l led ‘Watch ing You’, I fe l twe couldn’t rea l ly top that , I d idn’t th ink we could doanyth ing better than that at 170bpm. I ’d had enough andwanted to s low i t down. I ’d got o lder, and wanted to focuson th ings that I was actua l ly in terested in.”

I t seems to be a un iversal truth that with age comes an

apprec iat ion for house and techno. . .

“Yeah i t is . I wasn’t that much into i t when I was younger.I ’m 34 now. I th ink i t does come with age for a lot ofpeople. When you’re younger you want i t faster andharder. But I ’m rea l ly fussy about what I l ike wi th house,techno and elect ro. For me, the best e lect ro has beendone. Underground Resistance and people – a lot of stuffI hear now is just in terpretat ions of th ings that havea l ready been done. I ’m just t ry ing to br ing a bi t ofbassweight to i t and make i t access ib le in, dare I say i t , adubstep dance or a UK Bass dance. But i t ’s great , do ingthat , I can play Egypt ian Lover tunes in my set. I ’ve hadpeople ask me, ‘ Is th is a new one?’ and I ’m l ike ‘Bruv,i t ’s 25 years o ld! ” . That ’s rea l ly, rea l ly coo l . P lay ing at128bpm, I ’ve got such a cata logue of music tochoose from.”

Working as Bodd ika now – are you in more of a groove than

you were as part of Instra:mental?

“Yeah I guess I am. Damon my partner in Inst ra:menta l ,we’ve been fr iends s ince we were 12 years o ld, but Ith ink as t ime went on our persona l l i ves took separatepaths, so i t natura l ly becomes di ff icu l t to mainta in thework f low and enthus iasm to wr i te together. I ’m enjoy ingmysel f at the moment, i t fee ls l iberat ing.”

Some could argue that although it ’s only been around a

year, the Bodd ika name is already b igger and more

well-known than Instra:mental. . .

“People have sa id that to me. But as Inst ra:menta l , weweren’t t ry ing to wr i te c lub music. We wanted to wr i tegood elect ron ic music wi th a lot of sou l and moods, tomake you th ink. We did wel l ; we won best breakthroughproducers, best compi la t ion for the Fabr ic Autonomic .But I want to make a l iv ing out of do ing music, and i t ’svery hard to make a l iv ing when you’re not wr i t ing c lubmusic. So, yeah, i t is crazy; ‘Swims’, which I ’ve done wi thJoy O, there’s so much hype around that t rack. I t ’s huge– i t ’s a c lub tune and i t ’s bu i l t for that . But i t ’s a l l aboutt iming too. . . ”

And finally, what should you be watch ing for over the

com ing months?

“ ‘Swims’ is gonna be out in November I th ink. Then I ’vegot another 12 on SWAMP that ’s gonna be ‘Acid Jackson’and ‘Basement’ and wi l l be out before the end of theyear. I ’m going to cont inue work ing wi th Joy Orb ison –we’ve st ruck up a good work ing re lat ionsh ip and we wantto cont inue for the foreseeable future. Look out for a 12from us featur ing ‘Froth’ and ‘Mercy’ , on what labe l hasyet to be decided. Also, I ’ve got a couple of exper imenta lt racks coming on Darkestra l under the a l iases Grey Gooand Transportat ion AAD. There’s some exc i t ing pro jectscoming up for NonPlus+, I can’t say too much; stuff byanother ar t is ts that wi l l have a l i t t le shock factor to i t ,def in i te ly. . . ”

www.facebook.com/bodd ika


Work colour block knits with a slimsilhouette for a hot look in thecolder months…

Photography Shifteye

Styled by Kasha Malyckyj

Assisted by Charlotte James

Make up Katie Smith

Fiona wears:

Jumper Reverse at asos£48

Shoes asos£60www.asos.com

Fiona wears:

Cropped angora jumper Topshop£55www.topshop.com

Leggings £10 asos

Shoes Jeffrey Campbell

www.jeffreycampbellshoes.com

THIS PAGE:

Jumper Topshop£35Knitted leggings Topshop£22Shoes as before

Necklace H&M

www.hm.com

Opposite page:

Cropped jumper£7.99 H&MShorts£45 American Apparel

Shoes as before

Fiona wears:

Cardigan worn as jumper£70Topshop

Trousers£48 Motel

Boots£75 Topshop

Fiona wears:

Coat BeaconsCloset NY

www.beaconscloset.com

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

RAM RECORDS PRESENT

BREAKHOT LOVE/BREAKFASTOUT 7TH NOVEMBER 2011Available on 12” Vinyl and all Digital Formats.

OUT 24TH OCTOBER 2011Available on 12” Vinyland all Digital Formats.

DELTA HEAVYOVERKILL/HOLD ME

BURAKA SOM SISTEMA‘Komba’(Enchufada)

Portuga l ’s Buraka Som Sistema f i rs tannounced the i r ar r i va l to the wor ld wi th the i rgenre-meld ing 2008 debut ‘Black Diamond’,which took European dance music product ion andappl ied i t to Afr ican Kudoro. The resu l t was anintense, mesmer is ing fus ion of Lat in energy,Afr ican odd-ba l l a t t i tude and bass- dr ivenWestern dance music. Hyped by everyone fromthe broadsheets to the underground, BSS andthe i r brand of ‘Progressive Kuduro’ receiveduniversal accla im.

Two years later, BSS are back wi th the i rsecond album ‘Komba’, and wow, is i t good.Many wi l l have a l ready seen the incred ib le v ideofor ‘Hangover ’ , which features as just one ofmany high l ights of th is hugely sat is fy ing a lbum.Album opener ‘Eskeleto’ , featur ing Afr ikan Boy,sets an uncomfor tab le voodoo-t inged tone beforet i t le t rack ’Komba’ swi tches th ings up wi th i tsde l icate carn iva l groove, and ‘Voodoo Love’s l ides in wi th i ts bashy, in tercont inenta l take onFunky. Elsewhere, Redl ight co l laborator RosesGabor br ings some UK att i tude to ‘We Stay UpAl l Night ’ and BSS explore the ground betweenpunk and dancehal l on ‘Lo l & Pop’. ‘Vem Curt i r ’w i th Stereotyp takes th ings into lower temposand more exper imenta l s t ructures and‘Candonga’ de l i vers a sumptuous ly smoothhouse- insp i red groove.

A fr ighten ing ly accompl ished album, that not on lyde l i vers 12 excel lent ind iv idua l p ieces of dancemusic, but which t ies together behind a uni fy ingconcept to produce that rar i ty in dance music –a tru ly complete a lbum.


R EV I EWSREVIEWED BY: BASSMUSIC BLOG, SAM COLLENETTE, DUB BOY, GEOFF WRIGHT, JON CARTER,

SEAN KELLY, OLI MARLOW, DAVE COTGRAVE, JERYL WILTON, FIREMAN SAM, JUSTIN IRIAJEN,

NICK HILLS, CURTIS MOLDRICH, BELINDA ROWSE.

BASS GUIDE: DRUM & BASS DUBSTEP HOUSE/FUNKY GRIME DANCEHALL/REGGAE

E S S E N T I A LL I S T E N I N G

R EV I EWS 005588 TRAPMAGAZ INE .CO .UK

ELIJAH & SKILLIAM‘Rinse 17’(Rinse)

El i jah and Ski l l iam havespearheaded a movement that ’sg iven the under-va luedproducers in gr ime some muchneeded spot l ight . Th is la testadd i t ion to the Rinse CD ser iesis testament to the duo re-estab l ish ing inst rumenta l gr imeas an important force. Someargue that the new product ionta lent current ly bubbl ing ingr ime, outweighs the f resh MCta lent , and a CD such as th issuggests they might have apoint . Voca l contr ibut ions f romWi ley, Tr im, P Money, Blacksand Ruby Lee Ryder s i ta longs ide 20 other instrumentals.E&S br ing exc lus ive dubsaplenty f rom the l ikes of TerrorDanjah, Swind le, Rude Kid, DJQ, Starkey and Roya l T, as wel las remixes, an o ld-skool gem(‘Ghetto Kyote’ ) and some ofthe b iggest anthems of the year.Th is is the best gu ide to gr imein 2011 you’ l l f ind.

BRENMAR‘Let’s Pretend’ EP(Hum & Buzz)

London labe l Hum & Buzz lookacross the At lant ic for the i rfour th re lease, wi th an EP f romNew York producer Brenmar.‘Let ’s Pretend’ and‘Temperature Ris ing’ are melod icand up l i f t ing, fus ing a typ ica l lyheavy R&B inf luence wi th t ightdrums and stabb ing synths.‘Done (Don’t Luv Me No More) ’swi tches up the tempo wi th adarker edge, and DJ Mike Qbr ings a UK Funky v ibe wi th h is808- infused remix.

HACKMAN‘Agree To Disagree’(PTN)

Fol lowing an excurs ion on theGreco-Roman labe l wi th ‘Close’ ,Hackman returns to PTN wi thwhat has been announced is tobe the f i rs t s ing le f rom h isfor thcoming a lbum for the labe l .Fur ther sharpening h is sound,‘Agree To Disagree’ and‘Sunburst ’ are two s l ick s l icesof house imbued wi th the sp i r i tof c lass ic UKG that wi l l haveyou p in ing af ter the now long-gone summer.

SUBWAVE‘Subwave’(Metalheadz)

Meta lheadz’s Russ ian s ign ingSubwave de l i vers h is debutlong-p layer for Gold ie’slegendary impr int ; a fu l l a lbumthat acts as a cu lminat ion of h iswork to date. Fo l lowing up suchrecent re leases as ‘The Gi f t EP’of 2010 and ‘Ra in Dance’ /‘Naked Lunch’ ear l ie r th is year,the a lbum spans the Subwavesound bank; f rom moody, t r iba ltech numbers such as opener‘Wheel Of Time’, through somefeel-good voca l- led dancef loormoments l ike ‘Br ing Me Down’( that reca l l h is re lease onHospi ta l , ‘Stars Get Down’) andexper imenta l cut ‘Ra inbows’,every t rack is carefu l lycons idered and workscohes ive ly in the whole.Techno- inf luenced 4/4 venture‘Astero ids’ is a h igh l ight , as isthe soar ing, s immer ing outro‘Without You’. A worthycontr ibut ion to the Meta lheadzd iscography.

DAMU‘Unity’(Keysound Recordings)

Damu’s ascent over the lasttwelve months has been rap id.Speedi ly rack ing up re leases onLocal Act ion, Swing & Skip andKeysound, h is d izzy ingproduct ions have caught theimaginat ion. Now, wi th 12-t racka lbum ‘Uni ty ’ set for re lease onBlackdown’s labe l , Damu is ab leto make h is bo ldest musica ls tatement yet , e laborat ing onprev ious EPs wi th the room toexp lore h is creat ive rest lessnessmore fu l ly. From the sun k issedgal lop of ‘L.O.V.E’ to the hazydrones of ‘Maths Is F ine ForSum’, the br i l l iant ly ep ic ‘R id in’The Hype’ featur ing Tr im towhi r r ing c loser ‘Don’t Cry In MyBed’, the a lbum is a f idgety andunstab le l is ten, but is a l l thebet ter for i t . Damu creates awor ld in which you must fu l lyimmerse yourse l f to berewarded, and at i ts core ismusic r ight f rom the hear t .

PHACE & GUESTS‘Energy’ EP(Neosignal)

For the i r tenth re lease,Neos igna l has brought togetherthe most s ign i f icant t ra i lb lazersf rom futur is t ic D&B. Germanlabe l owner, Phace andMisanthrop, plus guests Rockwell,Spor and Nois ia cont inue to pushthe l imi tat ions of technology andwander f rom the beaten path.Nois ia & Phace’s ‘Microorganism’, wi th i ts c inemat icint ro and g l i tchy drop stands out .Th is EP is s in is ter, atmospher ic ,phenomenal ly produced andcrammed, unsurpr is ing ly, wi thenergy.

06

R E V I E W S 06TRAPMAGAZ INE .CO .UK 005599

SENSI SKANK‘Ruben Da Silva’ ft. Skinnyman

(Reggae Roast Records)

R e g g a e R o a s t h a s q u i c k l y b u i l t ar e p u t a t i o n a s t h e U K ’s l e a d i n gl a b e l f o r c o n t e m p o r a r y d u b w i s eproductions, and here again comew i t h a n o t h e r h a r d - h i t t i n g s l i c e o fh o m e - g r o w n d i g i t a l r o o t s . ‘ S e n s iS k a n k ’ , p o s s i b l y t h e i r b i g g e s tr e l e a s e s o f a r, i s s e t t o b e t h eg a n j a a n t h e m o f 2 0 1 2 . Wi t hv o c a l s b y R u b e n D a S i l v a , t h et r a c k a l s o f e a t u r e s U K h i p - h o pl e g e n d S k i n n y m a n , g i v i n g i t au n i q u e c r o s s o v e r a p p e a l .

FALTY DL‘Atlantis’ EP(Ninja Tune)

After releasing music for some ofthe most credible record labels onearth, including Planet Mu,SWAMP81 and Ramp, New Yorkresident Falty DL drops his debutEP for ever-evolving British labelNinja Tune. The result is amesmerising fusion of influences,expressing a rich, bass-heavy soundevolved from house, dubstep and ofcourse, UK garage. Featuring fourvery different compositions, this isthe sound of an artist evolving.

talent, ‘Forward Ever’ is easily one of favourite albums ofthe year so far.

Kenny Knots destroys the ‘Bogle Riddim’ on ‘Gimme Gimme’,London’s Mr Wil l iamz delivers an ode to the online world in‘Digital Age’, while Pupajim rides a sumptuous digital grooveon ‘Boat People’. Meanwhile, the incredibly talented Soom T,herself an integral part of the Glasgow reggae movementwithin which Mungo’s reside, delivers two delicious and verydifferent voicings, with the sultry toned Soom that we hear onthe jazz-driven ska of ‘Bad Bad Boy’ giving way for her rawerragga side on the digital rhyhthm of ‘Soundboy Police’.This is UK soundsystem culture at its very finest.

E S S E N T I A L L I S T E N I N G

MUNGO’S HI-FI‘Forward Ever’(Scotch Bonnet)

As we at Trap professed back in our Rodigan issue,without reggae, we would have no jungle, no D&B, nodubstep. There would be no bass music as we know it.So, whatever your sub genre preference, you owe it toyourself every now and then to pay respects to the rootsof the sound you love and get immersed in some properroots and culture reggae music.

Whether you’re a red-eyed, seasoned dread, or awide-eyed dubstep kid, there are few better prescriptionsof the good stuff than this second album from Scottishreggae champions Mungo’s Hi-Fi. Packed with 15 freshMungo’s productions, each featuring an outlandish vocal

SHANGAAN ELECTRO:

‘Peverelist meetsThe Tstetsha Boys’(Honest Jons)

Two worlds collide to great effect here,as Bristol bass technician Peverelisttakes on South African new waversThe Tsetsha boys. Staying true to thedub aesthetic, Pev strips the trackdown and restructures it into anintricate and subtly driving rhythm. Thesubmerged sounds of steel drums payhomage to the original's Africanheritage, while the shimmering chordsand space age Detroit atmosphericslaunch it straight into the cosmos.

R EV I EWS 006600 TRAPMAGAZ INE .CO .UK

VARIOUS ARTISTS‘IOTDXI’(R&S)

The la test insta lment of R&S'sc lass ic compi la t ion ser ies seesthe legendary Belg ian labe lconf i rm i ts pos i t ion as one ofthe most forward th ink ing anddiverse e lect ron ic music impr intsaround. S ince star t ing in 1984,R&S has a lways sat square ly onthe cut t ing edge of dancemusic, re leas ing semina l t racksfrom genuine legends such asJoey Bel t ram, Aphex Twin andCJ Bol land. And now the labe lhas the l ikes of James Blake,Unto ld, Par iah and Blawan setto steer i t in to the fur therreaches of modern bass-musicand beyond. Drawing on thelatest batch of re leases to makeup one of the two CDs here, anda whole d isc of complete ly f reshmater ia l , ' IOTDXI' covers a widerange of sounds, of tenexper imenta l but a lwaysreta in ing that gr i t and raw funksynonymous wi th the labe l .

BEHLING & SIMPSON‘Politics’ EP(Futureboogie)

Following the summer release ofBehling's 'Without You', whichturned heads from Tensnake toChrissy Murderbot, Futureboogienow let Behling & Simpson looseacross four tracks that veer fromthe loping cinematic soundscapesof 'Yenisei' to the classic house-inflected tit le track. At an averagespeed of about 110BPM, this isno straight-up house release, butinstead solid club music thatshows a freshness typical of theBristol scene right now.

STAR ONE‘Star One’ EP(Carrot Records)

The debut release from Toddla Tendorsed brothers Star One fusesgrime, UK funky, garage, hip-hopand plenty of chopped up vocalsinto five tracks. Although not al lare ‘hit’ tunes, there’s evidencehere that you’l l be hearing a lotmore from these two. ‘Bugz’ and‘Slow Down’ are both wicked UKgarage vocal throwbacks, but thestandout is the tropical UK funkybanger, coproduced by Toddla Thimself, ‘Power Riddim’.

AUTHOR ‘Author’(Tectonic)

This self-titled offering is the workof a new collaborative projectbetween Leeds-based dubstepproducers Jack Sparrow andRuckspin. Both established forcesin their own right with an impressivestring of releases under theirindividual belts, they link up hereto explore new musical territory.While still built upon the structuresof dubstep, the album expands itsfocus beyond the confines of thedancefloor, flickering with a muchbroader palette of sounds.Cavernous album opener ‘Turn’featuring Ed Thomas immediatelyarticulates these new processes,and this freedom continues rightthrough the album, as isexemplified by tracks such as thejazz-inflected ‘Green & Blue’ withBen Glass and the brill iantsprawling dub-lined closer ‘Drain’.Experimenting with theseboundaries, the duo finds a newbeauty and spaciousness amidstthe rubble of dark dancefloors andsoundsystem constructions.

JOKER‘The Vision’(4AD)

What’s probably the most hot lyant ic ipated bass music a lbum ofthe year f ina l ly drops, and looksset to catapu l t one of theundergrounds b iggest namesf i rmly in to the mainst ream.Dubstep is no st ranger to massappeal these days, and af ter ayear that ’s seen Fresh and Neroh i t the top of the char ts , therecouldn’t be a bet ter t ime forJoker’s debut to drop. Many wi l lhave a l ready heard the Jess ieWare co l laborat ion and t i t let rack ‘The Vis ion’ – a tune thatexempl i f ies Jokers ab i l i ty to fuseunderground cred ib i l i ty andcommerc ia l v iab i l i ty, someth ingthe rest of th is a lbum f launts inspades. With a set of so l id , pureinst rumenta ls , of which 2010’sbass anthem ‘Tron’ and theMar io64 sounding ‘Mi lky Way’are h igh l ights, as the LP’sbackbone, voca l turns f rom thel ikes of Jay Wi lcox, Wi l l iamCartwr ight and Joker’s o ld crewKHK are g iven room to rea l lysh ine. Essent ia l .

DELTA HEAVY‘Overkill’ / ‘Hold Me’(Ram)

Delta Heavy fu l ly just i fy the i radd i t ion to the Ram roster wi than equal ly invent ive fo l low up to‘Space Time’. ‘Overk i l l ’ bu i ldsinto euphor ic pads laced wi th ane lect ro hook and de l i vers a nastydrumstep drop that then swi tchesup to a more t rad i t iona l D&Bgroove. Swi tch s ides and thetempo drops to 140 as ‘Hold me’layers a g-funk lead over meatybeats and bass.

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MAVADO‘Settle Down’(Overproof Riddim)(Ja Productions)

Dancehal l moves so fast that atune that f i rs t appeared inAugust th is year can a l readyborder on anthem status.Mavado, one of the names at thep innac le of the dancehal l wor ld,returns wi th a gu l lys ide lovesong over the haunt ing st r ingsand heavy sub of the ‘OverproofRidd im’. Th is is a tune that ,bashment fan or not , you wi l l behear ing a lo t more of .

MARCUS NASTY‘We R Bass’ EP1(We R Bass)

UK funky’s affect on the wider bassmusic scene, and in particulardubstep, cannot be underestimated.The ‘post-dubstep’ movement owesa great debt to the Afro-rhythmic,dancehall and grime influencedhouse music that sprang fromLondon’s streets. Marcus Nasty isthe godfather of the scene, and thisfirst EP on his new label providesstark evidence to prove thattraditional UK funky is farfrom dead.

RIDO‘Twisted’ / ‘Core’(Metalheadz)

The latest 12 on Metalheadz seesRido turn out another two incredibletracks for Goldie’s label. Much likehis Prague Connection release,‘Twisted’ carries an epic, cinematicquality but this time adds awelcome element of soul, courtesyof Thomas Oliver’s brill iant vocals.The flipside, ‘Core’, is aneffortlessly slick roller, alive withmind-bending sounds and detail.Another huge release from one ofD&B’s rising talents.

TERROR DANJAH‘Full Attention’ EP(Hard Drive)

‘Full Attention’ reminds thisreviewer of the short lived R&G(Rhythm & Grime) period of around2005 and that premise, of a femaleR&B vocal over a hard-bodiedgrime track, is executed perfectlyhere. The vocal builds to areload-ready drop, with jungleamens and enough bass weight for any dubstep fan. Backed with aRoska remix and the over- hype‘East Village’, this is anessential purchase.

KAHN‘Illy’ / ‘Tehran’(Punch Drunk)

Kahn returns to Punch Drunk withtwo heavyweight cuts that onceagain assert his talents andsuggest that there’s a lot more tocome from this young Bristolproducer. Built on a stumblingdrum l ine, ‘I l ly’ plays colourfulsynth strokes and auto-tunedvocals off against penetrativebassweight, while ‘Tehran’ gives anod to early dubstepexperimenters with an incisiveforce and stripped-back structure.

MALILONE‘La Push’ / Von D Remix(Lutetia Dubs)

Fol lowing two s ing les for Argon,Par is ian producer Mal i lonebr ings her s i zeab le ta lents toLutet ia Dubz for her la test offer-ing. ‘La Push’ is a f luorescents l ice of e lect ron ic funk that t iesa sk ipp ing drum l ine andswel l ing bass to p layfu l boogiesynths and s l ick voca l chops.Von D steps up on remix dut ies,empty ing i t out and br ing ing thebass forward as the or ig ina l ’sfunk mel ts in to the d is tance.

FOREIGN CONCEPT‘Mob Justice’ / ‘Show You’(Critical)

Recent years have seen Cr i t ica learn a reputat ion as one of justof a handfu l of labe lscons is tent ly re leas ing qua l i ty,forward-th ink ing D&B. Th isla test boundary push ing 12comes f rom new ta lent Fore ignConcept. 'Mob Just ice' is a deepand moody stepper featur ing thesupremely ta lented MC DRS,whi le on the f l ip , labe l bossKasra lends h is sk i l l s to the darkand su l t ry 'Show You'.

VARIOUS ARTISTS‘Way Of The Warrior’(Shogun Audio)

There are very few better labelsin drum & bass than Friction’sShogun Audio. The exclusivehome to a bunch of the genre’smost interesting and credibleproducers, it’s become hard toimagine D&B without theBrighton-based imprint. ‘Way OfThe Warrior’ is a celebration ofboth Shogun’s notoriouslyrefined take on D&B, and thepool of talent that cal ls the labelhome. Perez’s heavy-weight‘Exemption’ and Rockwell’sgl itchy ‘4U’ sit alongsideSpectrasoul’s lesson in l iquid‘The Gift’ and Icicle’s technoinspired ‘Alien Groove’, toprovide perfect examples ofShogun’s resident artists’ styles.Elsewhere, scene heavy-weightsBreak, dBridge and Phace alsoappear, while Icicle collaborateswith Distance for a sole dubstepmoment in ‘Exhale’, and the lostclassic ‘Ultra Clean’ completes avery special f ift ieth release.

THURSDAY 3 NOVEMBERPERCULATE@ THE CROFT, BRISTOLRashad, DJ Spinn, Dub Boy + more.

FRIDAY 4 NOVEMBERDOLLOP@ STEALTH, NOTTINGHAMJamie Jones, Breach, Ju l io Bashmore,Kore less + more.

TECTONIC & CRITICAL@ FABRIC, LONDONScuba, Pinch, Addison Groove, Tota l Sc ience b2bS.P.Y, Adr ian Sherwood In Dub, Ed Rush b2b Break,Phace, UM, dBr idge, Dub Phiz ix , Loxy, Synkro + more.

METROPOLIS BIRTHDAY@ WHP, MANCHESTERSub Focus, Kni fe Party, True Tiger, Hype, Fr ic t ion,F lux Pav i l l ion, 16 Bi t , Vi rus Syndicate, North Base,Broke n Engl ish + more.

ANNIE MAC PRESENTS@ IN:MOTION, BRISTOL.Annie Mac, Toddla T & Serocee, 2 Bears, Emalkay,Donaeo, Sei j i , Marte lo, Breach,Dubious + more.

SATURDAY 5 NOVEMBERDIRTY BIRD@ FABRIC, LONDONClaude Von Stroke, Just in Mart in , Eats Everyth ing,Ky le Hal l , Terry Franc is , Cra ig Richards + more.

HOTWUK BRISTOL@ BLUE MOUNTAIN, BRISTOLThe Heatwave, St icky, Dub Boy, Fyah Napa+ specia l guests.

FRIDAY 11 NOVEMBERSKREAM & BENGA PRESENT@ FABRIC, LONDONSkream & Benga, Dav id Rodigan, Rol ler Express,Boddika, Hatcha & N-Type, Marte lo, Sei j i , Monki ,Scratch Perver ts , Dread, Jakes, Hi jack + more.

RUN 012@ IN:MOTION, BRISTOLRusko, Andy C, Scratch Perver ts , Groover ider,A l ix Perez, Spectrasoul , E l i jah & Ski l l iam, GQ,Inter face, Gemin i , D*Minds, Jakes + more.

HERITAGE@ FOUND, LONDONHeadl iner TBC, Matt Jam Lamont, T .Wi l l iams,Noodles, Hot Ci ty, Dem2, El-B, Sl imzee, Dusk &Blackdown, Horsepower Product ions + more.

BASSLACED@ STEALTH, NOTTINGHAMP Money, Plast ic ian, Joy Orb ison, Gi r l Un i t , Redl ight ,Mid land, Dread MC + more.

Since commencing on 30 September, FOUND has instant lyre inv igorated south London club Hidden wi th the f i rs tinsta lments of i t i ts ser ies of 13 weekly par t ies. As wel l asinv i t ing the l ikes of Butterz , Bul le t Tra in and Redux in tohost par t ies, FOUND also boasts f rom some strong in-house events too, of which Trix is undoubtedly the pick for us.

After October’s event , Tr ix returns to FOUND on 16December wi th a deadly l ine-up stra ight f rom the cutt ingedge. Bass-dr iven duo Dark Sky headl ine, a longs ideSWAMP81 pace-set ter Boddika and the increas ing lyversat i le and acc la imed Rockwel l , s tepp ing as ide from hisusua l D&B dut ies for Shogun Audio for a house and technoset . Those three are just the t ip of th ings – Doc Daneekaand XXXY play in room two and more ar t is ts are due to beconf i rmed as the event gets c loser.

www.facebook.com/foundseries

T R I XF R I D A Y 1 6 D E C E M B E R

F O U N D , L O N D O N

London-based promoters and record labe l Reggae Roasthave had qui te some summer, p lay ing Glastonbury andOut look fest iva ls , host ing a room at Fabr ic and re leas ingthe i r br i l l iant ‘L ick I t Back’ compi la t ion. And even thoughreggae def in i te ly sounds better in the sunshine, the ReggaeRoast guys aren’t in tend ing to let up for winter.

Saturday 19 November sees the launch of Jamdown,promis ing the best in roots reggae, dub, dubstep and jungleat Plan B in the heart of Br ix ton. The f i rs t event featuresar t is ts who’ve a l l re leased ser ious tunes on RR over the lastcouple of years, which makes for a pret ty impress ivel ine-up. Mungo’s Hi-F i , RSD and Kenny Knots & Ruben DaSi lva wi l l a l l be showcas ing the i r sound, wi th support f romRR’s Exel & Moodie and Dub Hunter.

www.reggaeroast .co.uk

R E G G A E R O A S TP R E S E N T S : J A M D O W N

S A T U R D A Y 1 9 N O V E M B E R

P L A N B , L O N D O N

NOVEMBER 2011

006644 TRAPMAGAZ INE .CO .UK06B A S S P O I N T S C L U B L I S T I N G S

SATURDAY 12 NOVEMBERFIELD DAY NIGHT@ IN:MOTION, BRISTOLEro l A lkan, Fr iend ly F i res, Washed Out ( l i ve) , HudsonMohawke, Boddika, Alexander Nut, Fat ima + more.

FRIDAY 18 NOVEMBERCHEW THE FAT 14TH BIRTHDAY@ THE NEST, LONDONFoamo, Art i f ic ia l In te l l igence, Marco Del Horno, Warr iorOne, The Liv ing Graham Bond + more.

BASSLACED@ CABLE, LONDONShy FX, Redl ight, The Others, Greenmoney + more TBA.

HOTWUK LONDON@ EAST VILLAGE, LONDONThe Heatwave, St icky + specia l guests TBA.

SATURDAY 19 NOVEMBERMETALHEADZ HISTORY SESSIONS@ CABLE, LONDONGold ie b2b Tota l Sc ience, Ed Rush b2b Doc Scott b2bBai ley, Storm b2b Dig i ta l , Bryan G b2b Die, Lee b2bFl ight , Mar ly Mar l b2b Clarky, Justyce, GQ & Moose.

FABRIC LIVE PRESENTS@ WHP, MANCHESTERAndy C, Rusko, Breakage, Benga, Roska, JamieGeorge, Loadstar, Martyn, Loefah, Chunky, dBr idge,Hyeta l , Thr is t ian + more.

SATURDAY 26 NOVEMBERR&S RECORDS@ WHP, MANCHESTERJames Blake ( l i ve) , Mount Kimbie ( l i ve) , AndrewWeathera l l , Par iah, Unto ld, Blawan, Space DimensionContro l ler, Lone + more.

FRIDAY 2 DECEMBERTHE ZED-SHED / BLACK BUTTER@ FOUND, LONDONHeadl iner TBC, Murderbot , L i l S i l va, Raffer t ie ,Greenmoney, RackNRuin b2b Woz ft MC Koast ,Warr ior One + more.

SATURDAY 3 DECEMBERSHIT THE BED@ IN:MOTION, BRISTOLSkream, Jack Beats, 16 Bi t , Araab Muz ik, TC,Brenmar, Di l lon Franc is , Mele, Duke Da God, Baobinga,Basher, Crit ical Impact, Negus, Koast, Texas + more.

FRIDAY 9 DECEMBERMODESELEKTION@ WHP, MANCHESTERModeselektor, Squarepusher, Skream, Four Tet ,Pearson Sound, D/R/U/G/S, Jackmaster,Hudson Mohawke, Deadboy.

After k ick ing off in ear ly October, the In:Mot ion ser ies rea l lygets into i ts groove over the next couple of months. Thereare too many amaz ing part ies to p ick f rom, but there are afew you def in i te ly shouldn’t miss, no matter what yourmusica l inc l inat ion. December’s Shi t The Bed! is one ravethat Trap wi l l be at in force, wi th Di l lon Franc is , Mele andBrenmar taking care of room two and Skream and Jackbeatsheadl in ing the main arena, whi le US drum-machine godaraabMUZIK makes a rare appearance, and new Clear Skyzs ign ing Cr i t ica l Impact br ings the D&B in room three.

www.bristol inmotion.com

I N : M O T I O NO C T O B E R – D E C E M B E R

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

One of the best smal l l ine-ups you’ l l see anywhere th is yeardrops down at Br is to l ’s Blue Mounta in on Fr iday 21 Octoberfor what wi l l be a very spec ia l b i r thday par ty. Af ter threeyears in operat ion, Crazy legs is ce lebrat ing by gather ingtogether some of the most innovat ive ar t is ts f rom the moreref ined and fash ionable quar ters of the bass music wor ld,and crowning i t a l l w i th booking of a genuine l i v ing legendin the form of US garage god Roy Dav is Jnr. I f you’re inBr is to l , do not miss th is .

www.wearecrazylegs.com

C R A Z Y L E G S3 R D B I R T H D A Y

F R I D A Y 2 1 O C T O B E R

B L U E M O U N T A I N , B R I S T O L

NOV / DEC 2011

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