Resolute is a new night launching this New Year's Eve in Maidstone, Kent and drawing together dubstep and roots music through the High Rollers soundsystem. Boasting an extensive, finely curated lineup that includes RDG coming over from Denmark, the first appearance of J:Kenzo's latest project alongside Mosaix under the Artikal moniker, Dub Police mic man Rod Azlan featuring alongside the likes of Pressa, Legend4ry and, the man behind the night, Crisp.
To support the night's launch, Pressa and Crisp are giving away their deep roller 'Atom', a tune that steps tightly with swung kick drums and a reverb heavy snare driving a warm, grooving bassline, exclusively through Hedmuk.
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.
MindStep Music and the man behind it, Rinse FM's DJ Crises, are playing an important part in the ever-developing world of underground UK bass music. Having represented the deeper, more soulful dubstep sound for almost a year at the bi-monthly MindStep events, the launch of a new label serves to continue this positive movement into a new arena. With a focus on progression and the promotion of new talent alongside the more established pioneers of the sound, MindStep takes on a collective image which is pushing fresh music not only through events and radio, but now also through its format as a label. We spoke to Crises to get his take on the mission of MindStep and what it represents, as well as to find out what plans there are for the future; and he in turn contributed a new exclusive mix to add to our series, which features forthcoming material alongside a choice selection of released tunes which form the 'Sunshine in his Bag'.
Hedmuk: As an introduction, what's your name, where are you from and what is MindStep all about?
Crises / Mindstep: Easy Hedmuk crew, happy today to you (laughs). I go by the name of Crises and was born in the early eighties, raised in London, UK and grew up listening to Oldskool Garage and Reggae Dub.
As a DJ, Radio Presenter, Promoter, Producer and Label Owner I’m now proud to be involved in the underground Dubstep scene. I've been hosting my own show, “Sunshine ina Bag”, on Rinse FM 106.8 http://www.rinse.fm/crises for almost four years and have found great pleasure in interacting with like-minded listeners.
Over two years ago I started MindStep as an event in order to create a night that focuses solely on the deeper, more thoughtful spectrums of our electronic sound. The main objective is to push fresh and up-and-coming artists as well as the more established DJs, who I respect and look up to.
The development of the label, MindStep Music, came about organically as we realized there was a growing international interest in our activities. As most of the residents are producers and dominate the 'Sunshine in my Bag', the label’s music policy reflects that of the night as well as my weekly show on Rinse FM. The label enables the MindStep sounds, and its artists, to be more accessible to the keen listener.
H: MindStep seems to have a collective/community aspect to it aswell as being a label, is this something that you consider important in the running of a label?
C / M: Well, I would say MindStep Music represents a movement of individual, creative m.i.n.d.s that come from similar perspectives and share the same bass-values. This is why there is a natural, un-meditated, collective feel about the label. The community aspect has forever existed within the underground, which in my opinion has always shown a feisty attitude towards the mainstream. To me this seems to be one of many driving forces behind the creation of new and exciting sounds/genres.
As MindStep mainly focuses on fresh talent, I feel the raw passion and drive from artists and the mutual appreciation for deep sounds, has un-consciously drawn everyone together. As well as the community aspect, I strongly believe that it is important to acknowledge the individual contributions, which spur on and inspire MindStep activities.
H: The tracks you selected for the label's first release, 'The Compilation', struck a careful balance between tunes made to be played in a dance and tunes made for listening at home; is this a conscious part of choosing which beats you want to release?
Like all things in life, I feel it’s important to always seek a balance. I don’t think the choice of tunes on ‘The Compilation’ was necessarily a direct, conscious decision, but we did want to take the listener on a journey of some sort. In turn reflecting our and many others' listening experiences and pleasures. Valuing the opinions of people whom I work with closely, as well as the listeners of my “Sunshine ina Bag” show, I am able to get honest feedback on tunes/dubs which both influences and confirm our label’s decisions.
All the tracks on ‘The Compilation’ are ideal for live DJ sets and are also perfect for the easy, casual-listener as I have recorded a bonus mixed version for the Walkman, erm, I mean the iPod...(laughs).
H: Are there plans for physical releases to follow the digital compilation? How important do you think it is that labels continue to release on vinyl?
C / M: Having grown up collecting and spending every bit of ‘pocket money’ on vinyl throughout the Oldskool UK Garage era, I fully overstand and appreciate the deep, emotional and collectable dimensions we have with a vinyl release, as well as the technical benefits. So there are definitely plans for vinyl releases from MindStep Music in the future.
Once a label releases a vinyl, I think it is crucial for that label to continue doing so, just as it is important for DJs to receive physical promo to represent that vinyl when playing out. There may be many reasons why record labels stop producing vinyl. So as a start up label, I think it’s essential to consider the financial costs: their benefits and implications on the growing potential of not only the label but also the health of the underground scene. With regards to sales, I think it’s unfair to expect consumers to always purchase physical releases if the DJ is constantly playing from CD when in direct interface with them.
In relation to MindStep Music, we aim to obtain a balance between the possible formats we produce: we maintain a practical and creative approach to dynamically cater for the needs and demands of our important listeners and artists alike.
H: The label launch party boasted an impressive line-up of both new and established talent, do you plan to continue running events in the future?
C / M: Without out a doubt MindStep nights have had, and will continue to create, line-ups that help bridge a gap between the new and more established pioneering artists.
When considering booking a headliner, so to speak, as I mentioned earlier I am keen to book the more established DJs who I respect and look up to. With the likes of Cyrus, Tunnidge, J:Kenzo and Quest, as well as hosts LX One, Rod Azlan and Crazy D making guest appearances and showing their support, I am confident that the night will continue to attract the like-minded, and provide the deep and positive vibes.
We have been running as a bi-monthly event for the good part of a year now. We are currently considering a new venue in order to get the right sound system that compliments the lower level frequencies we push. Look out for more information on our summer events on our website at www.mindstepmusic.com.
H: You also have a show on Rinse FM and, alongside Youngsta and Distance for instance, are one of the few people on the station still pushing the deeper, more minimal end of the 140BPM spectrum: what's your take on the rise of 'jump-up' styles and the more recent resurgent of what's been referred to as the 'dungeon sound'?
C / M: Music is art and art is perspective. I am fully aware that my opinions on music are opinions and are not facts. I believe it is vital for all sounds to exist in order to appreciate a difference in their styles. However, I 100% prefer the deep bass-driven, more minimal end of not only the 140BPM, but other spectrums as well.
With regards to the rise of ‘jump-up’ styles, I personally think it is inevitable for such trends to exist, especially when considering the fact that it is essentially ‘dance music’. People naturally want to go out and party, let their hair down and so forth...and when trends reach the attention of mainstream bosses, it’s time for the devout underground artists to retreat and develop new sounds, and/or retain the original styles they prefer. I hear a lot of people complaining about this ‘jump up’ style but I think that instead of focusing on what we don’t like, we should channel our attention and energies on what we do like; get me? It would be extremely selfish to think only the styles you prefer should exist.
So to touch upon the recent resurgence of what’s now referred to as the 'dungeon sound': I love it! 'Nuff said.
H: Can it be difficult balancing commitments as a DJ, promoter, producer and label owner? Which do you view yourself most strongly as?
C / M: Maintaining my musical commitment is the easy part but yes, dividing my time between each specific aspect can be difficult. Due to the time required in maintaining my DJ sets, the MindStep events, my production and the MindStep Music label, there are many sleepless nights in order to complete the tasks at hand. Having said this, there is a lot of input from the MindStep crew, who help lighten the load. For example, I work closely with Syte & Boilerman Dean when selecting and finalizing tracks for release.
Considering I have been mixing for over 10 years now, with my first pair of decks being belt-driven SoundLab 1600’s, it's fair to say I feel a lot more at ease when on the ones and twos.
I would say I am in the formative stages of my production and feel confident with my progression as a producer. My passion for making music is as strong as the passion and excitement I had for mixing throughout my teens. I am not ignorant to the fact that I have a lot to learn in building tunes, hence my openness and willingness to receive objective criticism. Having the ability to incorporate Serato into most of my radio shows I am able to instantly put my production to the test, allowing opportunities to get direct feedback. This also permits me to effectively prepare my club sets with dubs and promos I receive.
Promotion underpins all aspects of what I do, not just the MindStep events, but also the DJing, radio shows and label work. It plays a vital role in raising awareness of MindStep artists, our affiliations and other respectable artists.
H: Tell us a bit about the mix you've put together for us.
C / M: I will not reveal too much about the mix, as you will soon hear what it's all about. Hopefully it’s a clear reflection of the MindStep sound, as well as the sounds I am drawn towards, represented on my weekly show "Sunshine ina Bag".
The mix is about 40 minutes long and consists of 14 tracks; it also includes three tracks forthcoming on MindStep Music, plus a track from Thelem & Delta Labs entitled ‘Constrained’ that appears on ‘The Compilation’.
H: Finally, is there anything forthcoming or in the pipeline that you want to put the word out about?
C / M: We at MindStep Music are proud to present our debut release [MSC001] ‘The Compilation’, and are looking forward to dropping our next release [MSS001] in June 2011: a digital single-track from Mr. Boogie, straight out of Germany. This single will be followed by our first EP release [MS001] from an interesting, up-and-coming Japanese producer know as Dubtro.
After that, there are more EP releases from homegrown talent such as Killawatt, Bandicoot and My Nu Leng. Plus we will be giving away a MindStep 320 promo, courtesy of Killawatt. If you are reading this and would like to send dubs or demos for future MindStep Music consideration, please send respectable links to: mydemo@mindstepmusic.com
Thanks for taking the time to read this feature and I hope you enjoy the mix.
There is, of recent, a renewed momentum within the Dubstep scene; more specifically, a new wave of producers, pushing the dark, brooding, sub-heavy sound that many would associate with the likes of Kryptic Minds, Cyrus, or Distance have come to the fore. This should not be mistaken for simple imitation, producers such as TMSV, Lurka, Killa & Instinct, J: Kenzo, Pressa, Thelem, Benton, Myrkur and Sleeper, are all making tunes of startling originality and quality. District's production, dank and bass-driven, fits comfortably with this crowd of beat makers gaining increased exposure. Following sustained support from the likes of Distance and more recently Youngsta, we caught up with District to discuss his influences, future projects and to get his take on the state of the scene. In addition, District has laid down a heavy mix, packed full of dubs, as part of our mix series. Enjoi:
HEDMUK: To introduce yourself to those who don't know you yet: what's your name, where are you from and how would you describe the beats you make?
District: Hi, my names Dan. I'm from Coventry, England and I produce beats under the alias 'District'. I'd describe the sound I aim for as dark and bass heavy.
H: Are you from a musical background or was it something you picked up yourself?
D: I've played guitar since I was about 9 years old, from the age of about 18 - 23 I was playing in bands, death metal, hardcore punk, that kind of stuff. Rad times....
D: I went to college about 5 years ago to learn how to record bands and stuff, I met sleeper on the same course and he showed some drum and bass he was making at the time on the same software we were using to record. I've been mucking around for a few years but only really started taking it a bit more seriously a year ago when I stopped playing in bands. '3.5 grams' was the first tune I finished that I was happy with and could be classed as dubstep.
H: Tell us a bit more about you relationship with Sleeper. Do you see yourself as a production duo or do you prefer to define yourselves individually?
D: As mentioned in the other answer I've known him for a little while. When I started getting a bit more confident with the sounds I was making he was the first person I sent anything to. We've been collaborating on a few different things for the last year or so, different tempos etc. I think we both have strengths as individual producers; he's been producing a lot longer than me so when we combine we try to play on each others different strengths. Even on individual tracks we send each over the tunes for feedback etc.
Oh, and playing Trials HD while one of us works on individual parts of the tune. It might seem a bit backward playing the Xbox while collaborating but switching off for 20 minutes or so while one person works on the track helps us keep the track fresh in the ears. If we were both hovering over the pc all day both our ears would get knackered.
H: Youngsta has been playing a few of your beats recently. What does it mean for you to have someone as influential as Yunx listening to and playing out your tunes?
D: Yeah it's big. Both of us are big fans of Youngsta and the sound he pushes. The exposure has definitely helped us out a lot and continues to do so. I'd have to credit Distance as well though for playing the beats out first, he found us and introduced our tunes on to Youngsta as well as a lot of other people.
H: Has any increased exposure helped develop your production? Any tips from other producers/DJ’s ?
D: For sure, the last few months in particular I think have been fruitful. Distance, Tunnidge, Cyrus and Youngsta have given Sleeper and Myself pointers. Not just from a production aspect either. Hopefully that’s visible on some of the newer tracks that feature on the mix. The learning curve keeps production interesting for me as well as a challenge. There's a definite science to producing this kind of music, I don’t mind admitting I still have a lot to learn.
H: There is a new generation of producers gaining increased exposure within the Dubstep scene with the likes of Lurka, Killa and Instinct, TMSV, J: Kenzo, Benton, Sleeper and yourself all leaving lasting impressions of recent. Do you feel there is a renewed energy? What does it mean for you to be part of it?
D: It’s awesome. Every single producer mentioned there has a distinct sound and character to their beats, and that’s important. Without speaking directly for the others, there seems to be a slight push against some of the music that’s been put forward as dubstep over the last couple of years as its popularity has increased. I wouldn't want to discredit anybody else’s work or say it’s not dubstep. Right now it’s about being positive about the sounds everyone is pushing, and focusing on that. Its sick how many different people have started to creep out over the last 18 months or so with the same attitudes and enthusiasm for the darker sounds.
H: Tell us a bit about the mix you’ve put together for us.
D: Well, it’s just the sort of tunes I feel as a producer I want to represent, there's a lot of stuff from myself and Sleeper as well as a few other producers. It’s not too far from what I’d play out in a club environment. Hopefully people will enjoy it and can hear where I'm coming from.
H: Finally, any news, future projects or releases in the pipe-line?
D: I've got a few things on the go, I’m in the middle of finishing off the first few collaborations of mine with sleeper, a four way thing with myself, Sleeper and Killa and Instinct that I’m looking forward to as well as individual tunes. Release-wise, there are some things in the pipeline but that’s all I’ve got to say at the moment on that subject...
It might have been the rise of the screeching, mid-range-led sound that has in recent years been taking over the image of dubstep that made the deeper, half-step end of the spectrum seem like the less soulful, even danceable option or it might easily have been 'Horror Show'; what is more clear though is the recent reclamation of this sound as the opposite of boring or motionless by a number of up-and-coming producers. The likes of Killa & Instinct, Lurka, TMSV, Myrkur and District are breathing new life into the sound, and Pressa is another name that can be added to that list. With a similarly progressive take on the sub-bass, halftime basics of dubstep and an audible jungle influence in not only his breaks but also his undulating basslines, Pressa is taking the sound forward with him. We caught up with the man himself to ask him a few questions, and he has laid down the latest installment in our exclusive mix series which features plenty of dubs and forthcomings aswell as an added segment of old school jungle tunes. Enjoi:
Hedmuk: For those who don't know, what's your name, where are you from and how would you describe your sound?
Pressa: I'm Pressa and I'm from the London borough of Bexley. I build dubstep and sub heavy beats for the mind, body and soul.
H: Would you describe yourself as from a musical background, or is something that you have picked up yourself?
P: It's something I've picked up. I was listening to underground music from a young age as my older siblings were into hardcore, jungle and house & garage music. No one in my family plays any instruments but we do love music, the neighbours used to complain alot (big up Colin!)
H: There is a clear jungle influence in a lot of your tunes, where does this influence come from and have you always made tunes in this way?
P: Yeah jungle is a big influence, I'm really into breaks and of course sub bass which are the main ingredients of jungle. It's been in the background a lot growing up so it would be hard to make music without the influence being there. I wouldn't say that all of my tunes are jungle influenced but a lot of them are yes.
H: What or who else do you take influence from when it comes to making beats?
P: I listen to a lot of drum and bass, dub, deep house, soul and old hip hop (music with soul or feeling). Music and sound in films influence me, I like the way it can add suspense or evoke a feeling.
H: You've included an extra segment of old jungle beats in your mix for us, is this something that you would often do for live sets?
P: I have played jungle before in dubstep sets and it goes down well, I plan on doing this more in the future.
H: Can you take us through how you went about putting together a tracklist for the mix?
P: The mix features tunes from friends and artists that I am feeling within the dubstep scene that are on a similar tip to what I am doing, as well as some jungle riddims from way back.
H: You play regularly on Rood FM; how did this come about and what sort of vibe do you try and achieve with your show?
P: I was on my way back from the pub and I bumped in to a girl I hadn't seen in a few years and she was with Fish who runs Rood FM, this was in 2008, 2 years later he hits me up and asks if I'm interested in a slot. I play a lot of my own material on the show as well as stuff with a similar vibe to me from upcoming and established producers. I also play some dnb and jungle. My show is every other Sunday from 8-10pm GMT but I am considering doing it every week.
H: Seeing as it's January, what do you want to have achieved by this time next year?
P: To have produced more music, get more bookings. I like to go with the flow really and just see what happens.
H: Finally, is there anything forthcoming or in the pipeline that you want to put the word out about?
P: I've got a 3 track 12" out on Orientis which should be out around April, also I am part of the forthcoming Mindstep compilation which is a collaboration with Crisp, as well as a 4 track original/remix EP with Bojcot Selectah which will be out on Top Drawer Digital in the summer.
Phaeleh - Lockdown (feat. Jut Lew) (Forthcoming Open Earz)
Be-1ne - Illusion (Area) Pressa - Blue Mood (Forthcoming Orientis) Jack Sparrow - Way Out West (Cloqworq) Dcult - End Of Days (Dub) TMSV - Cold (Box Clever) Subreachers - Tsukuyomi (Dub) Spherix - Rule Of Threes (3.5) Killa & Instinct - Halftime (Dub) Coleco - Morbid Curiosity (Orientis) Randall & Andy C - Sound Control (Ram) Deep Blue - The Helicopter Tune (Moving Shadow) Fire Fox & 4-Tree - Warning (Powder Mix) (Philly Blunt) Die - Something special (V)
