As part of the 'Puppets Special Edition' CD, released in New Zealand to aid the efforts to raise funds for the Christchurch quake relief efforts, Truth put together this mix containing beats from their popular debut LP as well as subsequent remixes such as Tunnidge's 'Puppets' remix (recently released on Origin Audio). Enjoi:
A tune that's become something of an anthem over the last year or so, Benga's 'Smack Your Bitch Up' will be familiar as the lurching opener to his set's alongside Skream. Having promised a free giveaway some time ago, it comes as something of a surprise that a beat which was expected to receive a full release has been put up for free download but it may equally be taken as a positive sign as to the level of quality to expect from Benga's forthcoming album. In this way, the tune fulfils its assumed role as a statement track: a big set-opener that has stood the test of time, a re-appropriation of an already-established dance anthem and a preview of what to expect to an important post-fame follow-up album.
Karma is a rising talent we've had our eye on for a while here at Hedmuk as he brings something genuinely unique to the table in terms of his production. With a background in making hip-hop beats and drawing influence from a wide spectrum of bass-led music, Karma blends laid-back melodies with carefully constructed, weighty basslines and tight rhythms to make music equally at home in headphones as on a big club system. We caught up with him for an interview to discuss all of this, aswell as his recent move in signing to MindStep Music and got him to put down a mix for our ever-expanding series.
Hedmuk: To introduce yourself, what's your name, where are you from and how would you describe your sound? K: Hi, I'm Corin (AKA Karma), and im from Penge, South-East London. I would describe my sound as sub-heavy bass music ranging between 130-150Bpm. I try to make captivating music, which could go off in a club, or be listened to at home.
H: Are you from a musical background, or is it something that you have picked up yourself? K: Fairly, I've always been fascinated by music from a young age and I've been playing the drums for about 8 years now. My granddad worked for UNESCO back in the day, recording tribal music around the world, and he left me a huge archive of records he recorded which I've made much use of in my music since.
H: Where, or from whom, do you take your influence when it comes to making a tune? K: Alot from Dub/Reggae, which was sort of my gateway into Dubstep at first, but also Jungle, and 90's Hip-Hop. The thing is, I find inspiration comes from everywhere, not just music. It can come from the city I live in, the places I go, people I meet, even the colour of the sky!
H: Does being from London, the city responsible for such an influence on the dubstep sound, bear a particular significance to you in terms of the music you make? K: Most definitely. London is without a doubt the central hub for almost all genres of dance music which have influenced and helped create what Dubstep is today, from Acid House, to Jungle, to Garage. London therefore has that atmosphere/energy to it. I admire the evolution and roots of these genres, which I try to incorporate into my music, so that whatever you're into you can find that little hint of Jungle or Garage, or whatever may suit you.
H: You've recently signed to MindStep Music: how did that come about? K: Well, I'd been making music for roughly 5 years and was getting really frustrated just sitting on tracks, so I started sending them out to people. It was hard getting noticed at first, Crises was one of the first DJs who took an interest. I then bumped into him down at FWD>> one time, and we got chatting about where we could go from there. I kept sending him tunes after that, and well.. here we are now!
H: You make a wide variety of beats, taking in hip hop and some grime: is this something that comes naturally? Do you plan to work with vocal artists in the future at all?
K: I used to make Hip-Hop before, so have worked with quite a few vocalists/MCs in the past. At this stage, with the music I'm making, and pushing, I'd like to keep things instrumental but I do have plans and ideas for the near future to work with vocalists, but not just yet.
H: Tell us a little about how you went about putting together the mix you've done for us. K: The mix I've recorded is sort of a showcase of my interpretation of the sound. Plenty of dubs from myself and a few other artists who I feel are pushing a similar sound, and have a similar perception of the genre.
H: Finally, is there anything forthcoming or in the pipeline that you'd like to put the word out on?
K: I have a forthcoming EP on Mindstep. No dates yet, but keep a look out!
Peace, and thanks for all the support: one love!
With the recent reinvigoration of the half-step leaning deep dubstep sound, it seems that 'Angles' and the Orientis imprint which brings it forward will serve as an important defining point in the progression of the genre. At eleven tracks, the statement is of quality over quantity and this quality is ensured by label-head Thelem's intense attention to detail: there is no filler here. The whole collection is defined by an acute sense of control and restraint, and it is the addition of this element which is so vital to the overall success of the release as both a project and a statement from the artists and label involved.
Beginning with Thelem's own 'Illusions', the album takes a rolling start over tight kicks and a hypnotic panning synth before moving into the haunting territory of Killa & Instinct's 'Halftime' with its bulging bassline. Subreachers' 'Left Hand Path' adds a subtle skip to the beat with a scatter of high-hats over a growling bassline, which is extended by BunZer0's techy offering in the form of 'Recovering' and 'Krymia', the first of two tunes from Crisp, which trails a floating synth over neatly tumbling percussion.
It is at this point that Antics' 'Unconscious' drops in with a stripped-back beat and pulsing sub and settles the pace once more. This careful ordering of the tracks serves as another reminder of the attention given to the details as 'Apocrypha', a collaboration between Instinct & Thelem, gently draws the listener from their halftime sway. Collision uses tribal drums and an eery sample on 'Another Planet' to build in progression over a warping bassline and lead into Crisp's heavy roller, 'Surge'.
The penultimate track on the compilation, Pressa's 'Orbs', lets a tightly controlled bass melody flow under rounded synth stabs before Legend4ry's 'That Kid's Got Spirit' rounds of the collection with a twisting bassline, reverb-laced synths and something of a telling sentiment in its title.
To add to this, we've linked up with the Orientis family to exclusively offer something a little extra. First up is a free bonus track for the compilation from Pressa: 'Concussed' is a stuttering roller with plenty of swing in its drums and licks of his characteristically delicate, minimal synths. Also included is an exclusive mix of the tracks featured on the compilation which has been put together by Killa & Instinct and showcases the tunes featured, by a simple re-ordering and a series of subtle blends, in a different light.
A tad late on this one but J:Kenzo has put together a promotional mix for the This Way Up Agency featuring dubs from Biome, Sleeper, Matt U and of course some of his own productions. J:Kenzo remains very much a producer on form even spreading the deeper, darker dubstep sound through a guest slot on Mistajam's 1xtra show.
