Competition: Win a Test Press of Piezo's Discipline EP, forthcoming on Subaltern Records

It seems like a while since our last competition, so it's good to be returning in support of such a strong release from one of the hardest working new labels around. Due on vinyl on the 26th of May, and with Juno hosting the digital version exclusively on the from the 2nd of June, Subaltern's fifth release is perhaps their strongest yet, which is no mean feat considering a healthy roster of previous contributors which includes D-Operation Drop, Geode and LAS among others. Piezo's three track EP for the label - which includes a remix from Hedmuk mainstay Thelem that threatens to upstage the main event - sees the Italian producer/engineer flexing his acute attention to detail and drawing intricate grooves from the 140 template. It's refreshing to see a producer demanding more, and achieving so much as a result.



We've linked up with Piezo and the Subaltern crew to offer up the chance to nab a Test Press of the release ahead of its being available in shops. To enter, simply head over to the Hedmuk Facebook Page and follow the usual Like & Share instructions. And if you're still anxious to get your hands on an early copy of the 12", then you can grab a promo copy from the Subaltern online store.

The competition will end on Sunday the 18th of May, on which date a winner will be selected at random by an independent third party and announced via Facebook and Twitter.

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Review: LX One - Reflect / Distorted Politics [WHEELYDEALY043]

By no means the most prolific of producers, LX One maintains an unbridled consistency with his quality over quantity approach. This, of course, is also an approach that we at Hedmuk have long subscribed to, and as such are always pleasantly surprised by announcements of forthcoming releases from the multi-talented Londoner.

With solid DJ support from the usual raft of scene leaders, including Distance, Youngsta, J:Kenzo, Icicle and label boss N-Type, 'Reflect' is a bonafide A-side: delivering an enormous groove with the effortless sense of style that has been a defining characteristic of LX One's production since his earliest releases. As with his previous dancefloor mainstays, this is an example of how to do a lot with very little. 'Distorted Politics', meanwhile, represents something of a departure for the producer MC as he swaps the heavily swung rhythm of canonical beats such as 'You' for a straightened, kick-driven pulse of a beat. It's new ground for LX One's solo material, but is trodden as carefully and precisely as should be expected from this producer, whose eye for detail - and making every detail count - continues to prove itself a rare asset.

LX One - Reflect / Distorted Politics is now available to purchase exclusively from the Wheel & Deal Surus store on 12" and digital formats, until general release from other outlets on May the 12th.

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Free Download: Promise One - M.I.

Following February's exclusive mix feature, and in the run up to the release of the See We Roll EP, we're linking up with Promise One and OpenEarz once more to deliver this skippy, grime-tinged gem for free download. Nicely bringing things full circle, the acapella used was also previously given out as a free download on these very pages and here, in combination with Promise One's characteristically intricate drum patterns, lends the track a swinging, off-kilter groove.

'M.I.' is an ideal taster of the way in which Promise One's beats achieve that difficult balance between intricacy and allowing room for a vocalist to flow, as exemplified by the title track of the forthcoming OpenEarz 12", which sees Mouse Outfit, Voodoo Black and Levelz MC, Sparkz, twisting his way effortlessly through the beat. Cop the free download, and then follow the links below to preview and pre-order the full release.

Download: Promise One - M.I. [320kbps mp3]
                      Promise One - M.I. [WAV]



The See We Roll EP will be released on the 14th of April 2014 on 12" vinyl and in digital formats a week later on the 21st. Vinyl copies are available to pre-order from Boomkat, Red Eye, Juno, and BM Soho now.

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Review: Biome - Layers EP

Following a relatively quiet 2013, Biome returns and takes the release process into his own hands with the Layers EP. Encapsulated in the EP's title is a sense of moving up and down through the tempo spectrum: this is Biome's first release to fully engage with his cross-tempo experiments. Though best known for his work around the 140 notch, pitching things down is nothing new to the Manchester producer, having released previously on fellow Mancunian Indigo's Mindset label. In fact a useful touchpoint here would be Indigo's own Akkord project, whose album Biome also contributed, as we see a similarly raw, almost industrially approach to the blend of style and influence on show. In many ways, what we're seeing here is Biome showing off the full potential of a sound that has been undeniably his own, despite the many imitators, for the last half decade.

'Happiness' eases proceedings in with airy pads, delayed vocals and shuffling hats, whilst 'Broken' and 'Rise Up' provide more familiar territory for the majority of Biome's fanbase, and are a deft reminder of why he continues to hold such stead within the scene. 'Layers' and 'Philly Blunt' meanwhile, provide the EP's standout moments; the former is tightly-coiled, pounding UK funky rhythms married with characteristic dashes of reese, and the latter a rolling, pummelling junglist history lesson. Winding down, 'Foreigner' and 'Hajime' are both beautifully spacious, and further demonstrate Biome's remarkable versatility - it's rare to see a producer able to imbue such a varied spectrum of musical tone and movement with their own unique sound and presence.

Preview and purchase the Layers EP from the Bandcamp embed below.



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Competition: Win guestlist to Project 13 Secret Sessions #2, a copy of Acre's forthcoming Cold Recordings release, and a Hedmuk X Generic Greeting #2 t-shirt

A Manchester clubnight that's gone from strength to scene-pushing strength since its inception, Project 13 are bringing back their Secret Sessions for a second outing. The first saw an unannounced lineup of Hedmuk favourites Commodo, Walton and Alex Coulton play in a disused warehouse; this time around the lineup is being kept similarly under wraps, though the P13 team have let on that the night will feature four headliners representing two labels between them. Though we can't say exactly who is set to appear on the night, we can say that the unintentional theme of "Hedmuk favourites" is very much on show again this time around - and with a mixture of scene-founding, established talent, and fresh faced up-and-comers represented on the lineup, it's set to be a night of forward-thinking music, and with a proper party atmosphere to match: the disused warehouse setting means no bar, which means bring your own booze, which means a can of Red Stripe for a pound, not four.

This is strictly a ticket only event, and places are limited, so if you want to guarantee entry then head over to Skiddle to book now, then head below to enter the competition.



As with the last Secret Sessions, we've been given a couple spots on the guestlist to give away, and we're throwing in a copy of Acre's forthcoming release on Pinch's Cold Recordings and one of the latest Hedmuk X Generic Greeting T-shirts in too; to be in with a chance of winning, simply email your answer to the following question to hedmuk@gmail.com:


What is the name of the label that previous Secret Sessions guest Commodo last released on?


The competition will close on the 20th of March, on which date a winner will be picked at random by an independent third party and announced via Facebook and Twitter, as well as being notified by email.

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Macabre Unit - 1Xtra Guest Mix - 17/11/2003

Though relatively recently rebirthed as a dedicated dubstep label, Macabre Unit initially cut their teeth in garage's more MC-oriented grime offshoot. Closely associated with the earliest incarnation of Plastician's Terrorrhythm imprint, the Unit were arguably the most prominent crews operating outside of London in the early-to-mid noughties. Here, unearthed from founding member Demon's harddrive, is an otherwise lost recording of Macabre Unit's first appearance on Radio 1Xtra - the station itself being only a year or so old at the time. Guesting on veteran garage DJ Richie Vibe Vee's show, with MCs 9er, Logical, Gamma and Nuse sharing the mic and Demon running plenty of Unit dubplates on the decks, the energy levels are very high.

Demon dedicates this mix to Blaze and Dynamikk.


Download: Macabre Unit - 1Xtra Guest Mix - 17/11/2003



Tracklist:

Macabre Unit - Shootin Starz
Macabre Unit - Bubble
Macabre Unit - Tulipz
Plasticman - Death By Stereo
Macabre Unit - Transformer
DJ Wonder - What
Macabre Unit - Elastikz
Macabre Unit - My Show
Macabre Unit - Glok
Macabre Unit - Toothgrinder
Digital Mystikz - Da Wrath
Macabre Unit - 1st Blood
Macabre Unit - Unit Jam
Macabre Unit - Montana
Plasticman - Shallow Grave
Macabre Unit - Akuma
Macabre Unit - Take Time VIP
Plasticman - Spring Roller
Macabre Unit - Skittlez
Macabre Unit - Chopstix
Macabre Unit - Shape Shifta
Macabre Unit - Slo Jak

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Review: LAS & Gantz - Firepusher EP [SYSTM004]

Words: Silas Howison-Waughray

"System". If you’re still a passionate fan of dubstep, then that name shout resonate loud and clear. It’s a name more closely associated with an event curated by scene figurehead V.I.V.E.K; a night which stands at the pinnacle of preserving dubstep’s longevity. Alongside a string of infamous events has, more recently, been an impressive series of 180gram vinyl releases. The latest editions to the System Sound team are the equally infamous LAS & Gantz, both of whom now boast a myriad of releases across major imprints still pushing the dubstep sound.

This is a label which clearly takes its ethos very seriously: this is real soundsystem music. The A-side, ‘Fire Pusher’, has LAS & Gantz written all over it, with sporadic rim shots, looped vocals and an unassumingly hypnotic top line. The other two tracks on the EP feel (unsurprisingly) much more like solo productions. Gantz' offering, 'Second Nature', is heavily indebted to his roots, with ethnic percussion and instrumentation throughout. The focal point of LAS' ‘Malfunktions’ is the kick drum, which is finely tuned and the real driving force behind the track's rhythm. The off-kilter bleeps, blips and digitised idiosyncrasies which accompany all relate directly back to the title, itself representing that very digital sort of malfunction: the typo. Drawing for either of these in a club would be a challenge for any DJ, but it’s that originality and rhythmic versatility that sets these two apart, and their consistency in shying away from the norm that steadies and continues their appeal.

SYSTM004 sits perfectly alongside its predecessors, and complements the System Sound ideology.

LAS & Gantz - Firepusher EP [SYSTM004] will be released on 12" vinyl and in digital formats on the 10th of March 2014, and is available to pre-order from the System Surus store now.

Silas has written for Gottwood, Urban Nerds, Mavrik, and MisDigest, is one half (guess which) Silas & Snare Surgeon, and a resident DJ for the Leeds-based Brotherhood Soundsystem.

Featuring: Blackwax

Blackwax, though by no means the most prolific, have built on a steady stream of - at times, inexplicably slept-on - releases, carving their own groove from the UK's rich history of underground dance music: an upfront mesh of grime, garage, breaks and drum machine brutalism. Their re-imagining, last year, of the seemingly ubiquitous 'Pulse X' made our end of year favourites list, and they followed that one up with a self-released brace of free downloads - found below, bookending the mix - which exhibited a new clarity in the unique sound that the duo have been pushing at for years.

Included in - and supporting through their selections on the Circadian Rhythms NTS show (presented alongside Last Japan) - the clutch of producers welding and blending all that's great about UK electronic music who've appeared as regulars on these pages over the last few years, it seemed about time that the London-Edinburgh pairing of Luke Dubuis and Ross Andy joined the exclusive series. And whilst there's no interview to accompany, we're confident that the music here has more than enough talk of its own to offer...


Download: Blackwax - Hedmuk Exclusive Mix


Tracklist:

Blackwax - Grimace
Visionist - Pain
Lighter - Skanker
Dizzee Rascal - Strings Hoe (Wen Refix)
Cliques - Aut
Pearson Sound - Starburst
Jam City - Bells
Akito - Aqua Tryst
Lol Gurlz - Red Pill Blue Pill
JT - Twin Warriors (Rabit Remix)
Spokes - Pigs Riddim
Bone Squad - Skal & Bones
Annoy - Fort
Twwth - Naomi XX
Mssngo - D&C
Mike Midnight - Camera Shy
Beneath - Bells
Nativ - Broken System
Murlo - Cold Stroke
Facta - FWD
Compa - Bullets
Logos - Seawolf
Moleskin - Slippin'
Blackwax - Phobia

Blackwax - HEDMUK Exclusive Mix by Hedmuk on Mixcloud

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Review: A/T/O/S - A/T/O/S [MEDiLP009]

We're welcoming another new scribe to these pages today, as well as (probably quite belatedly) a scoring system to accompany all the reviews you'll find on the site in future. As is to be expected, our standards are high and any release scoring within spitting distance of a five-out-of-five is one you'll kick yourself for missing out on.

Words: Alex Terry

A/T/O/S’ (A Taste of Struggle) first appearance came early on in 2013 by way of a self-titled single on the ever-adored Deep Medi Musik imprint. A low-slung, melancholic release pinching together aspects of trip- hop, R&B and dubstep, remixes from Skream and Commodo, and a video directed by Simon Mannaerts ear-marked the project of Amos & Truenoys as one to wait patiently and excitedly for. One year on, after confused anticipation, a couple of live performances and little to no information about the outfit surfacing online, A/T/O/S have announced their debut full length release.

Noticeably split between two different tempos - circling around the 140 and 100bpm marks - the album, on the one hand, seemingly pays homage to much of the Deep Medi back catalogue while markedly prying into regions previously unexplored by the dubstep label. Regardless of whether this was an intentional split, A/T/O/S present a debut album that oozes an undeniable 90's Bristolian demeanour while continually carving their own brand of dusky, leftfield R&B inflected with broken hip-hop: drunk drum patterns stumble spaciously over Moogs and Rhodes, lead by charmingly hesitant vocals.

Stand out tracks include 'Projects' bearing glistening synths that sound suspiciously sampled from 'Anti War Dub' - perhaps another appreciative nod towards influence - and 'Cosmos': a sunken, downtempo number that bears the qualities of the kind of industrial pop characterised recently by artists such as Grimes, and that benefits indefinitely from feeling submerged in cold bath water, washing off the saccharin edge and being stripped back into unnervingly few elements.

It is clear why the label seem to have been keen to lock the duo away while an album fell into place; quite simply, 'A/T/O/S' is one of the best debuts from any UK underground bass music act in a good number of years. Quite a statement, though one that becomes self-evident and difficult to dispute. Rich in emotion, confidently diverse production which retains strong continuity from track to track and an even stronger sense of A/T/O/S’ ownership over a sonic aesthetic and a bleak, sultry song writing ability.

A/T/O/S are undoubtedly special in that they have produced a stunning and unique debut album, and while they may not have spent the run up to its release gaining any noticeable momentum [Ed. - read: "shallow hype"], they have maintained an enthusiastic audience of label followers who are, let's face it, not outwardly interested in what they have to offer. To their credit, they have strung along the adjectives “dark” and “weighty” to encapsulate everything organic and timeless about the typical dancefloor-orientated MEDi release, while retaining them in what is absolutely a real listeners' album.

As for Deep Medi, who have a tendency to throw the occasional curveball - acts like Old Apparatus and Mark Pritchard being among the most notable - this is really the first vocal-lead act on the roster and it is difficult to imagine them not proving hugely successful in ways that bands such as Submotion Orchestra have proven of late. With that in mind, the prospect of further similar homegrown projects from the label would certainly be something to get excited about for 2014 and beyond.

A/T/O/S - A/T/O/S [MEDiLP009] will be released on the 3rd of March 2014 on 3x10" vinyl and in digital formats, and is available to pre-order from the Deep Medi Surus store now.

Featuring: Promise One

Though affiliated variously with the Deep Heads and Chord Marauders crews -
Geode, of the latter, in particular, having collaborated on releases for Innamind and now OpenEarz - Promise One still retains a strong sense of independence; moving, refreshingly, at his own pace and away from empty hype and shallow scene building. Perhaps unsurprisingly, it gives his music a sense independence and originality too.

There's a measured approach to his production, marrying the raw edge of a hip hop indebted, sample-based approach with the skintight, minimal rhythmic aesthetic of the proto-dubstep sound peddled by the likes of El-B and Zed Bias. The resultant space is where the groove or, as is becoming a more regular occurrence, vocalist lurks. With the news that Syte is relaunching his OpenEarz imprint with three of Promise One's finest, we caught up with the man behind the monitors for some words and a new mix to add to the series.

Hedmuk: By way of introduction, what's your name, where do you come from, and how would you describe your sound?

Promise One: Hey I'm Nick, I grew up around North Yorkshire and currently live in London. My sound tends to come from the garage roots of dubstep, I guess: rolling tunes around 140. Prefer to let the music speak really, but that's probably a cliché now...

H: When did you first get into making beats? Have you always been involved in writing music, or has Promise One been your first foray?

PO: I started out on Reason, having been introduced to it by a friend; that was about 10 years ago. I work on [Ableton] Live now and used to make instrumental hip hop/breaks stuff under the name Defiant Kinetics - always been a fan of sampling from that respect. I play the drums, started that a little before I got into making beats and have always played in 3 piece bands for some reason, probably just because it's less complicated!

H: There's a skip and swing to your drums that feels reminiscent of garage's period of development into dubstep's early sound - is this somewhere you find yourself taking influence from, or are there other places you feel you draw more from rhythmically? 

PO: I think that era was always really interesting to me, so I'm sure its an influence. I like offbeats and swing, rim shots and all of that El-B and Horsepower goodness. Drumming certainly helps, sometimes I play bits in with an MPD and sometimes I just use a mouse, it depends on the tune.

H: You've got a few releases under your belt already, but your next will be your first on vinyl. When did you first get involved with Syte, and how did the idea of resurrecting the OpenEarz imprint come about? How important is it to you to be putting out music on a physical format?

PO: Jim (Syte) had been planning a re-launch for some time and brought up some ideas to get me involved with a release around the same time I was finishing up the collab with Sparkz. I played him the final version and then we agreed with George (Geode) that 'Chroma' would sit well on the flip side and that was it! I'm really happy about putting out music on vinyl, it's been a goal of mine for a while. Records will never go away, I don't ever see a replacement format coming, so it's the best we have. The HD DVD was the successor to CD but the MP3 took the lead: we've gone backwards, if anything. I've cut most of my earlier tunes to dubplate as I love the process, but it is expensive. I collect and buy vinyl because it's important to me to have physical records. There is an element of quality control which isn't really a consideration in digital, but I don't play vinyl out due to dub cutting costs and a lack of [vinyl] support from most clubs.



H: With the lead track from the forthcoming OpenEarz release and your recent MIK bootleg, you're showing a real knack for working with vocals. Is this something you've always experimented with, or discovered more recently? Can we expect to see more work with vocalists from you in the future?

PO: Coming from a hip hop background I've always been into vocals, but equally I appreciate the instrumental side of the genre. The first tune I ever made with a vocalist was called 'Technicolour', with a guy called Kid Kareem, under Defiant Kinetics. I never really understood grime for a while but some of it is quite interesting to me, especially rhythmically. I wanted to make a track with a grime vocal but which didn't sound like a grime tune, and one that was a bit playful; that's how the MIK tune came about. I haven't got any specific plans to do more vocal stuff at the moment but no doubt something will come along soon.

H: Take us through how you approached the mix you've done for us.

PO: I wanted to play tracks from producers I'm feeling, and also to represent OpenEarz. I'd say it starts off at a comfortable pace and builds up to darker more intense ending - I think there is still a lot of good, interesting music being made around 140. It's great that producers are going in different directions but I'm not seeing any reason to change from around this area, it just naturally resonates with me.

H: Finally, are there any other forthcomings or anything else in the pipeline that you'd like to put the word out on?

I seem to be playing more DJ sets at the moment so that is taking up more of my time, which is fun. I suppose I consider myself more a producer than a DJ, though. I need to get back on the beats, it takes me a long time to come up with a finished idea; I'm not one of these people who writes three tracks a week: it's more like one tune every couple of months! The 'See We Roll EP' is forthcoming on OpenEarz on vinyl and digital formats (with 'Ghost Note' as a digi exclusive) and should be available mid-to-end of February.


Download: Promise One - Hedmuk Exclusive Mix


Tracklist:

Indigo - Premonition [EARZ002]
Gunston - Danger Again [Dub]
Lefty - Wise Guy [Dub]
Lack - 432 [Dub]
Congi & Geode - Flow One [Forthcoming Chord Marauders]
Piezo - Antelope Swing [Dub]
Promise One & Geode - Chroma [Forthcoming EARZ004]
Ago - Backlash [Dub]
Baitface - Disrobe [Dub]
D-Operation Drop - Justice [Dub]
Promise One - Ghost Note [Forthcoming EARZ004]
Subreachers - Spitfire [Dub]
Promise One - See We Roll (feat. Sparkz) [Forthcoming EARZ004]
Elemental - Spring Dub [RUNTIMECD001]
Promise One - M.I. [Dub]
Clearlight - No Rules [Dub]
Argo, Karnage & MarkIV - Unforeseen [Dub]
Mikael - Blessed [Dub]
Nanobyte - Impartial [Dub]
Sub Basics - Untitles [Dub]
Facta - Poliwhirl [Dub]

Promise One - HEDMUK Exclusive Mix by Hedmuk on Mixcloud

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Premiere: L-Wiz - Girl From Codeine City (Official Video)

Another video premiere dropped today over on the Hedmuk YouTube channel, this one re-imagining some classic L-Wiz material from Dub Police's back catalogue. Many will have first encountered this tune on Caspa & Rusko's game-changing 'FabricLive.37' mix CD, but now a whole new generation of listeners can be introduced, again through a compilation, on Dub Police's 'Past Present Future', which is available now on CD, digital, and vinyl.

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Free Download: Ming Da Mercilus - Paimei

We first came across Ming Da Mercilus after hearing his collaborative efforts with fellow Isle Of Wight resident, and Hedmuk mainstay, Sepia. Whilst arguably yet to pin down a specific sound and call it his own, the young producer shows promise with his willingness to try on different styles, rotating tempos and rhythmic approaches with abandon. On 'Paimei' he's struck gold, digging into the proto-dubstep sound that emerged from garage's early-noughties fling with breakbeat. Reminiscent of the likes of Toasty, Horespower Productions and Search & Destroy, the tune revels in its drums, making way only for a rolling sub-bass and occasional - though equally percussive - kung fu samples.

Download: Ming Da Mercilus - Paimei [WAV]
                      Ming Da Mercilus - Paimei [320kbps mp3]



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Review: Gantz - Spry Sinister / Rising [MEDI078]

Despite a general mantra of valuing quality over quantity, the latter can sometimes fall out of sync with the number of words-worthy releases pouring out of the scene. This, then, is the first of an ongoing series of guest contributions from Silas Howison-Waughray, and what better way to cut your teeth here on Hedmuk than on a landmark release in the burgeoning career of one of our favourite artists? - W.

Words: Silas Howison-Waughray

With previous releases on Box Clever, Innamind and more, Gantz is a name already well-established in the scene and has been supported by a myriad of influential DJs. The Turkish producer's debut release for Mala's increasingly-pioneering imprint - the first 12" of the year for the label - is a unique combination of what fans have come to expect from both Medi and from Gantz himself. The A-side, ‘Spry Sinister’, opens with a scattered vocal sample mirrored tightly in a triplet percussion arrangement and pitched rim shots before the track moves effortlessly into a head-nodding, mood-swinging sub-bass pattern. Undoubtedly the off-kilter feel of the track will have bedroom DJs scratching their heads and Serato fans reinstalling their software, however producing something slightly off-centre is normal for Gantz, who tends to shy away from any conventional approach to production.

The flip side, ‘Rising’ with El Mahdy Jr, is reminiscent of Digital Mystikz’ 2004 release for Big Apple, ‘Pathwayz’, taking influence from past greats and then moving off in a completely different direction. Once again the drum pattern is original and slightly unusual, with a heavily syncopated rhythm dressed with exotic vocals and eerie instrumental sections. This side of the release really draws attention to Gantz’ ability to produce something out of the ordinary but within roughly the same parameters that we know and love.

This, simply put, is yet another fine example of Gantz’ unrivalled abilities and Deep Medi’s forward-thinking take on 140bpm music.





Gantz - 'Spry Sinister' / 'Rising' will be released on January the 13th 2014, and is available to pre-order from the Deep Medi Surus store now.

Silas has written for Gottwood, Urban Nerds, Mavrik, and MisDigest, is one half (guess which) of Silas & Snare Surgeon, and a resident DJ for the Leeds-based Brotherhood Soundsystem.

Free Download: Sepia - Wouldn't Be The Same

An artist who shouldn't need any introduction to regular readers of the blog, Sepia has spent 2013 turning his hand across the tempo spectrum and proving himself as one of the most consistent new producers the scene has to offer. 'Wouldn't Be The Same' sees him in sundown, zoning out, hands in the air mode: a butter-wouldn't-melt vocal, the sort of intricate percussion that has become something of a signature to his sound, a quietly catchy plucked top line, and a bassline that meets Phaeleh and Burial in the middle.

We uploaded a clip of the track to YouTube in June, and six months and a corrupt project file later it's here as something of a belated Christmas present, not to mention a good way to round off another great year and nod on to an even better next one.

Download: Sepia - Wouldn't Be The Same [WAV]
                      Sepia - Wouldn't Be The Same [320kbps]



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HEDMUK - Top 13 of 2013

It's end of year list season, and though the feature has never cemented itself as a regular one on these pages - in fact, it's only been done once before this - in a year of such notable transition as that just passed, it seems a run through of some of the defining releases of the last twelve months might serve as an opportunity to take stock. Of course, since the list will reflect its own themes, there isn't much to add other than a note for those tunes that will inevitably have slipped the mind, and those others which only just slipped the net. So, in no particular order - because, frankly, there's nothing in it - here are our top 13 tunes, and 5 of our favourite free downloads, for 2013. Enjoi:

Tessela - Horizon [R&S]
One of the year's most consistent producers, any one of Tessela's releases - remixes included - could have appeared here. His masterful judgement of stop-start rhythms has set him apart, and left more than a few dancefloors wide-eyed too.



Boofy - Since When [Bandulu]
Tight sampling, sharp drums and a bass lick that'll make you screw your face up. Grime in its purest form: demands a reload.



Karma - How Ya Feel [System]
Those who've been following the blog for more than a few years will say that Karma has been long overdue some vinyl with his name on it. This was as good a way as any to end the wait.



Wayfarer - Reflections (feat. Animai) [Uprise Audio]
The word "anthem" is an easy one to throw haphazard into a press release, but there are few better ways to describe this arms-to-the-sky number from Wayfarer.



Etch - Scattah [Keysound]
Blew out the booth monitors on its first airing at Fabric. Enough said?



Commodo - $pace Cash [Deep Medi Musik]
You'd be hard-pressed to name a tune released this year with as much effortless swagger as '$pace Cash'; Commodo proving himself incomparable all over again.



Taiko - Spray Can [Uprise Audio]
It's all about the drums in this one: while some producers have spent their time chopping breaks and fills, Taiko just makes his own.



Wen - Commotion [Keysound]
The tune that set the stall out and sent a whole wave of new producers trailing, for better or worse, through grime sets and DVDs searching for soundbites. The key here, though, is that Dot Rotten's cameo isn't what makes the tune stand up: it can do that all by itself.



Alex Coulton - Too Much Talk [92 Points]
Simplicity reigns: one of the year's most infectious beats,



Killjoy - Memories [Tumble Audio]
The extraordinarily prolific backbone to one of the UK's most exciting new labels, Killjoy's second release for Tumble Audio is tough and fun in equal measure.



Gantz - U Wont Mind (Thelem Remix) [Black Box]
Two Hedmuk favourites on one tune; Gantz' offkey source material teasing Thelem into the leftfield with amazing results.



Dubkasm - Victory [Sufferah's Choice]
Dubplate exclusive to Dubkasm and Aba Shanti-I before going on sale and selling out two presses in a matter of hours - a third is said to be on the way - it's safe to say that this one has captured its audience fairly successfully.



Youngstar - Pulse X (Blackwax Remix) [Liminal Sounds]
A tune that, in many ways, sums up the year quite nicely: a touch of grime nostalgia, an elastic garage bassline and a healthy dose of breaks all bent into something which somehow manages to sound like none of its parts.

As ever, you can share your thoughts on the list either in the comment section below, over on the Hedmuk Facebook Page, or via Twitter.

Free downloads are now a staple of any modern day music scene, but the price - or lack thereof - needn't reflect the quality: here are five of the best from 2013.

Caski - Patient [Download here]
Heavy grooving and moody as hell, this is unadulterated dubstep goodness.



Dark0 - Violate [Download here]
A highlight of the 'Zero' mixtape, this is grime with its sights on the headtop.



Geode - Pistachio [Download here]
A late but more than worthy entry, this one swings and grooves like its going out of fashion.



Hugo Massien - Mystik [Download here]
A few name alterations later and Hugo Massien still comes with it slick as ever.



Sepia - If We Could Only See Us Now [Download here]
First hitting the Hedmuk radar in late 2012, a producer whose sound has only grown since and is set to take 2014 by the horns: you actually did hear it here first.




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Review: Wayfarer - Afterlight EP [UA005]

With previous contributions to Uprise Audio providing the highlights of, chronologically, 'The Uprising EP' and 'Live To The Future' picture disc sampler and subsequent compilation, it seems about time that Wayfarer be given the opportunity to make a full solo statement on the label. And the 'Afterlight EP' is a statement, as equally demonstrative of what a Wayfarer EP sounds like in 2013 as it is suggestive of what the coming year might hold.

The title track is as grand and self-aware as we've heard him yet: a driving, broken-steppa rhythm - not dissimilar to that of the anthemic 'Reflections' - married with a sub that'll pin your ears back, gently. From here on in, though, the beats become more scattered and coarse as 'Azuma' deconstructs 2013's seemingly ubiquitous "dark roller" format, with pounding kicks punctuated with successive flurries of shaker, hi-hat and hand percussion, whilst 'Nomad' continues this deconstructive theme, stripped back to a swollen, lurching bassline and delicate, incidental percussion. And just as the record turns to pick itself apart from the inside-out, 'Zeg' nods back to the opener's lush pads and rounds off the release with the kind of assertive style that has come to be expected from this up-and-comer.

Wayfarer is a producer with intent, and this was never going to be a handful of 'Shaman' or 'Reflections' re-runs; instead, and all the better for it, we have a snapshot which looks back as much on the journey to this point as it does, through a methodical deconstruction of what has come so far, to the possibilities that the next leg might offer.



Wayfarer - Afterlight EP will be released digitally on Monday the 16th of December, exclusive to Beatport for until December 23rd,  with the 12" vinyl to follow in January 2014.


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Free Download: Geode - Pistachio

Not unlike Anti-Social Crew's melodic offshoots from the dank beats pioneered at early FWD>> and DMZ nights, the saturation of dubstep with dark, lurching halfstep over the last couple of years has in turn seen a response from producers seeking to inject some added melody and groove into the genre. Geode, along with his Chord Marauders cohort and the likes of Phaeleh, Jack Sparrow and Ruckspin - among others, of course - speaks of clarity, restraint, momentum and in his music combines a love of expressive jazz notation with those most exciting moments when modern day genres, like garage and drum & bass, begin to push out into new ground and establish their own movements. With the aforementioned Chord Marauders' second compilation fresh on the virtual shelves, and an appearance from Geode on this site long overdue, we caught up with him for a chat - and he decided to throw in a free download too, which happens to be, for our money, one of the best beats he's produced yet. Lucky us/you.

Hedmuk: To introduce yourself, what's your name, where do you hail from and how would you describe your sound?

Geode: My name's George Harris, raised in Herefordshire but based in London, and I would describe my sound as beats with momentum, punctuated by cluster chords.

H: Plenty of people will have first come across your name through the Vie EP, released earlier this year on Innamind: how did you first get involved with the label? Should we expect to see more from you on Innamind in the near future?

G: Innamind was one of about three labels that I had earmarked for potential releases towards the end of last year. I sent Jeremy (Innamind boss) a quick message with downloadable copies of some WAVs and he got back to me positively. Since he was moving to London from New Zealand, we linked shortly after - I believe at a FWD night - and decided to push on with an EP from there. Unfortunately I don't have anything planned on Innamind at the moment, but I'd definitely like to release with them again at some point. Jez runs a tight ship and it's the first place I'd go with any of my darker material.



H: Since then you've released twice with Smokin' Sessions; do you feel like you've found a good space for your music with the label? How important do you feel it is to be well-represented by the labels you release on and by the rosters and sounds that they are defined by?

G: Yup. I think Zeb Samuels (Smokin' Sessions/Deep Heads boss) has created a very successful platform which has propelled many melodically-minded producers; the history and artist roster of Smokin' Sessions was an important factor in signing with them as well. I have enjoyed working with the label because it's meant I can freely explore my deeper and jazzier sounds. There's no real attention to what the label is defined by, in fact it's quite anti-hype and I think a lot of the output defies easy definition. I like music that way, not too self-aware or self-referencing.

H: You're also a founding member of the Chord Marauders collective/label. Tell us a little more about the project: what was it that first set it in motion? Who exactly is involved, and what would say are the principles that tie you all together as a group?  And with the Groove Booty compilations and B9's solo album already delivered - what else have you got planned for Chord Marauders?

G: The Chord Marauders comprises myself, Congi, B9 & Jafu. We wanted to create a platform to release our own music, feature upcoming artists we're feeling and engage with the people who go out of their way to buy our music. The principles that tie us together would probably be mutual respect, not taking it too seriously, and plenty of fresh ideas.

As you mention, Groove Booty II  has just dropped and has been well received. Next up is Congi's album; currently being finalised and coming out early 2014 at the usual place. Myself and Jafu are due a solo project each next year and we'll also be moving into physical releases if all goes to plan. Going forward we'll be continuing with the compilations, although perhaps annually rather than biannually as the inevitable admin can distract from creativity a little. And we're also in the process of organising a night in London, more info on that to come via our Facebook page.



H: It's unsurprising that you'd be involved like this in something which appears to be album-led since your own repertoire - swinging all the way from dubstep, to drum & bass, and back down to house - is so comfortable in its variety. There appears to be a jazz influence floating through your chords and incidental drums, but what would you say are your musical touchstones? Are these things you were exposed to whilst growing up or was music something you discovered for yourself?

G: A bit of both I suppose. There was always weird and wonderful music playing in the house growing up, DJ Kicks: Nightmares on Wax being the CD I am most nostalgic about. My focus on jazz notation is definitely inherited; I find myself glazing over to any music with ballad chords, I guess that kind of reaction requires a certain amount of parental conditioning.

But I think my focus on drums & percussion probably comes from my early years as a producer, learning FruityLoops inside out, mashing up jungle breaks and bulking them up. I have about 200 tracks of mad Amens, quirky melodies and subs: they're all poorly produced but they familiarised the shuffles, percussive licks and momentum I try to build into my music now. Like many artists of this generation it was drum & bass that gave me the production bug, tunes like 'Metropolis' by Adam F, Photek's 'Consciousness' and 'Flute Tune' by Hidden Agenda.

It's funny, the only music I didn't ever really listen to until recently was dubstep, but I find music at 140bpm with the snare on the 3rd beat the most liberating for my own projects, the perfect balance of speed and space. The stuff that grabs me is the steppier, garage elements of the scene – Cluekid, Congi, early Martyn, Circula, Promise One, K-LONE.

Sometimes I need to go on a complete tangent stylistically and genre-wise to keep my interest flowing, which is why you'll hear me posting house and drum and bass tunes from time to time. I don't really get that casual genre snobbery that floats around on VICE articles because I'm always striving for that unspoken soul and style that ties producers of different brackets (Medlar, Robert Glasper, DjRum, B9 & Jafu, Melodiesinfonie, Detroit Swindle, J-One, Harry Love or MJ Cole) together. Imagine if DjRum made a tune at 140, Jafu made an instrumental piece or Robert Glasper got on some garage...they'd still have dem feels.



H: Finally, can you tell us about the track you're giving away here, and whether there are any forthcomings or anything else in the pipeline that people should be keeping an eye for.

G: I chose 'Pistachio' because it's a strange tune that doesn't fit with much of my other stuff. I thought the miscreant Hedmuk readership would appreciate it anyways! Release-wise, there are some bits and pieces planned for Chord Marauders and Deep Heads, along with collaborative vinyl releases with Promise One and D-Operation Drop. Keep an eye on SOULECTION as well.

Big up, and thanks for the questions, Will.


Download: Geode - Pistachio [WAV]
                       Geode - Pistachio [320kbps mp3]




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Featuring: Boofy

As far as statements of intent go, 'Since When' is up there with the best. One of the sharpest instrumental cuts to have bust into the grime scene for some time, it's first play on Rinse FM - courtesy of Messrs Kahn & Neek - had a lot of heads turning. Though those already familiar with the name Boofy, most likely off the back of his earlier, sub-drenched dubstep beats, might not have guessed in his direction, this assault of flutes, skittering hats and belching bassline was no one-off. Since then - pun wholly intended - Boofy has come with a steady stream of perfectly balanced heaters, carving his own corner into grime and contributing, in no small part, to the sound's recent resurgence. And while some might complain of producer's of simply re-hashing old staple sounds and themes and presenting them to a virgin audience, Boofy manages to show off his influences proudly - everyone from Maniac, to early Dizzee, to Dot Rotten - without surrendering to them: his beats incorporate an inventive approach to rhythm, most notably in those hi-hats, and, perhaps most importantly, the structure and control of a tune's energy, effectively removing the need to ride a whole track out on one cliched sound or sample.

Hedmuk: To introduce yourself, what's your name, where do you hail from and how would you describe your sound?

Boofy: I'm Boofy. I sleep and eat in Bristol and my sound's heavily 140-based and with a major UK influence.

H: Some people may have first come across you through the deeper, rolling dubstep tunes you initially became known for, but had you always been making a broad style of music? How much has your recent grime output been a big switch in focus in terms of what styles you're making?

B: Well, I haven't made a great amount of material of every genre but I experiment a lot, if that makes sense. Regardless of my releases, I haven't really just stuck to making one desired sound, but I put out what I'm confident with.

And yeah, it definitely has. I still get a lot of people still reppin' my older sounds which is wicked because I didn't know it reached out to that many. I won't stop making what I want, but I think at the very least, I know what direction I'm aiming to head in.

H: Have you always been involved in making music?

B: I have. As long as I can remember. I started playing instruments from young and learned how to write and read music, but it wasn't until my early teens I had a chance to sit down on a computer and get to grips with the tech side.



H: An obvious characteristic of the grime tunes you've been coming out with is the clips cut from old radio sets: how much, would you say, is that about trying to capture that sense of energy from grime's early pirate radio days, where the MC took centre stage?

B: Yeah it is, but at the same time all I've done, without consciously thinking about it, was run through some of the old sets I had on my block tower of a PC that's been out of use ever since I got my Mac. Pirate days definitely had energy that we all still feed off. I think it was the rawness of the genre.

H: Have you plans to be working with any MCs in the near future? Are there any that you'd be particularly keen to hear vocalling one of your beats?

B: One of my favourite MCs at the moment is Merky ACE and there's quite a few MCs I'd be keen to get some vocals down from. But then again it's another one of those things where I'd want to focus on sculpting something with someone, rather than make a beat and fling an MC on top of it. I've sent a few bits off to some Bristol heads, old friends who've I've always rated and other guys who have put in work so just got to see what we can come up with, but it's definitely in my interests.

H: Along with signing the Nank EP to Tumble Audio you've played at a one of their notorious Nottingham label nights; how did you get first get involved with the label, and how important is it, do you think, for labels to be getting involved with the actual live/performance aspect of the music that they're releasing?

B: The involvement with the label was due to a mutual hook-up with this skeng-man called Willum. Pretty sound guy, you should meet him (laughs). In all seriousness though, it was shortly after 'Nank' was uploaded to your YouTube channel that we got in touch with each other, so big ups to you.

What those guys are doing in their city is important, they've got a sound and a live audience along with it: it goes hand-in-hand. I now think it's essential for other labels to do the same, or at least something similar. You can see how a DJ reacts to their crowd and whether they can play the right stuff; anyone can make tunes, but not everyone's a "selecta", if you know what I mean.



H: You took the step of setting up your own label recently, alongside Lemzly Dale; what was it that made you want to take things into your own hands and start doing things independently, and how important was it that you'd be releasing on vinyl?

B: The whole vision started off as "I miss grime white labels" and not many people were doing them as much as they used to - obviously due to the way the industry has rapidly changed over time. Then before I knew it, I was on a roll getting it all sorted. Releasing on vinyl is something, in my opinion, that you aim towards. As well as that, Bristol has a healthy vinyl culture: I thought it would be important to get involved and play my part in it.

H: What are your plans for the future of Sector 7?

B: Future plans for S7S, we're back in the blueprint stages again. There's quite a few projects that are possibilities but nothing's concrete at the moment; just planning for next year really and the aim is to step the game up after a successful first release. Just taking our time and not rushing, building on the foundation we have made for ourselves really.

H: Logan Sama caused a stir recently by suggesting that the current crop of producers making grime in Bristol were making life difficult by keeping things close-knit and releasing mainly on vinyl; how important to you, though, is that sense of community that is apparent between the Bristol school of producers? How much would you say that it's about keeping an aspect of dubplate culture going in a largely digital world?

B: I could say so much on that situation, but I think I'll keep it simple. Our community for music is important. We all constantly strive to better ourselves, and what's more motivating than surrounding yourself with people who all want the same thing? It's not like we don't send tunes out to people or whatever, because we connect with a lot of artists and producers all over, but our city isn't the largest so, being on the same page with music, we all bump into each other and just link up.

And as for Logan, he basically just said he plays what he gets sent and vinyl's dead ever since he stopped cutting dubplates. Don't get me wrong, I do respect Logan and he plays a big part in bringing in new producers, which is what the scene needs. But because he doesn't take vinyl out with him anymore, and some Bristol guys are doing physical only releases, he can't play it. The whole point of physical is 100% not because hipsters are trying to take a step back, we're just trying to keep an aspect of physical in an industry full of files and desktop folders. But I don't know, that's just my opinion.

H: Take us through how you approached the mix you've done for us.

B: I've got together a bag of tunes which are some all time favourites, personal favourites of today's age, vocal's I particularly rate at the moment and producers who I rate. Thought it would be important to start with one of my favourites from when I started producing back in 2007.

H:Finally, are there any forthcoming releases or anything else in the pipeline that you'd like to put the word out on?

B: Release-wise, there should be some news on one of my bits coming out next year, which I can't give specifics on just yet because I haven't been given any myself! But I'm looking forward to letting everyone know what we have in store for Sector 7: hopefully you'll all have a chance to come and see for yourselves!

Download: Boofy - Hedmuk Exclusive Mix

Tracklist:

Young Dot - Ride Or Die [Rotten Riddims]
Kahn - Burnin' Riddim [Dub]
Boofy - Bayonet [Dub]
J Beatz - Wave Down [Crown Jules]
Jakes - Certified (feat. Footsie) [Hench]
Saga - Friction [Lost Codes]
Lemzly Dale - Katana (Boofleg Refix) [Dub]
Wiley - One Step Further (LJ Remix) [Dub]
Commodo - Space Cash [Deep Medi Musik]
Merky ACE - Strawberry Rain [No Hats No Hoods]
Hi5Ghost & Trends - Duppy Maker [Dub]
TMSV - Gutter [Dub]
Boofy & Lemzly Dale - Banshee [Sector 7]
KIlljoy - Straight 2 Tha Neck [Dub]
Lyka - Whole Meal [Dub]
Exemen - Storm [Manchu]

Boofy - HEDMUK Exclusive Mix by Hedmuk on Mixcloud

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Review: Dark0 - I Ain't A Sweet Boy EP

Regular readers will no doubt already be aware of our appreciation for the North-West London producer, and indeed some of the tracks on this EP will already be familiar, having appeared previously as vocal bootlegs on the Zero mixtape.

Dark0 spends the majority of this latest EP indulging in melody, and the standout in this regard is 'Sweet Boy Pose': anthemic grime at its best, it sounds like Ruff Sqwad let loose on a room full of purple sound synths and is arguably some of Dark0's best work to date. 'PRS Riddim' - the title perhaps giving a cheeky nod to the Rinse FM airplay that the vocal version has received - shoots for anthem status too, with an irresistible hook beating its way past clattering snares. In another life, 'Fully Waved' is the euphoric soundtrack to a Mediterranean festival's video highlights, and 'Plasma Cannon' is the theme tune to a Sega racing game that never existed. Most probably reserved for the near-impossible final boss level. Both 'Karmmm' and 'Scyther', meanwhile, build trippy, spaced-out layers of loops on loops; the result is wide-eyed, hypnotic and, like the rest of the EP, indebted to Dark0's uniquely acute sense of tune and cadence.



Dark0 - I Ain't A Sweet Boy EP is available to purchase from Dark0's Bandcamp page now.


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Premiere: Vaun & Animai - Taking Over [Official Video]

Animai's jazz tones will already be familiar to some, having recently graced Wayfarer's anthemic 'Reflections', and the east London vocalist furthers her stake on this, the latest release on DJ Crises' MindStep Music imprint. Vaun applies a characteristic light touch to the beat, with a delicate piano line falling over subs and pert kicks, and leaves the vocal the room it demands. To call this release long-awaited would be an understatement, having done the rounds and raised crowds for the best part of 2013, but when Crises got in touch to let us know that the release was coming and that they'd been shooting the label's first video for it too, the wait seemed worth it: time is a commodity well spent by MindStep, and a dedication to the details is what has always kept them at the head of their game. The video is now available to view in full above, or over on the Hedmuk YouTube channel.

The full release is rounded off by an acid-tinged remix from Simbad, an intricate medley of percussion and mids from Wayfarer, and a rolling, downtempo zoner from Sam KDC, with each producer taking their own unique approach to the vocal. The results exemplify the strength in depth of feeling that MindStep, since our very earliest contact with the label, has always been about.



Taking Over will be released on the 25th of November, and can be pre-ordered from iTunes here.

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