One of this year's standout releases, and from two of the UK's most exciting musical minds, Akkord's debut long-player is the sort of record you might play to someone trying to write off electronic music as mere button pushing. Forward-facing, progressive, original, genre-defying, interesting and - an adjective not often seen alongside those descriptions - genuinely danceable, Indigo and Synkro, along with the likes of Troy Gunner and Biome, who also feature on the album, have delivered on the huge promise of their early limited-press releases. Recent mixes for Resident Advisor and Boiler Room, meanwhile, have seen the duo applying their years of experience behind the decks.
To celebrate the release, Project 13 will be hosting the official album launch party in the basement of Manchester's 2022NQ. Support comes from fellow Mancunians Biome and Acre, as well as Edmondson - a recent signing to Indigo's own Electromagnetic Fields imprint.
We've linked up with the guys at P13 to offer the chance to win 2 spots on the guestlist for the launch party, as well as a copy of the album in the format of your choice. To enter, simply head over to the Hedmuk Facebook Page and publicly share and like this image. The competition will close at 5pm on Thursday the 5th of December, a winner will then be selected at random by an independent third party and announced via Facebook and Twitter.
For more information on the party, including how to purchase advance tickets, head over the the Facebook event page here.
Since first launching as a silhouetted collective based in Manchester and self-releasing two of the most essential records of 2012, Akkord have been difficult to ignore. And it's only become more difficult since the geometrics obsessives were picked up by Rob Booth-run Fabric offshoot Houndstooth, resulting in the stunning Navigate EP.
In the run-up to one of the most anticipated LP releases of the year, namely Akkord's self-titled debut, the shadowy duo - since revealed as Mancunian pioneers Synkro & Indigo - have been sharing previews of album material via their akkordmusik.net site. Last weekend, 2000 people leaving Manchester's Warehouse Project were handed flyer packs containing the QR code sticker shown on the left, scanning which will take the savvy fan to an exclusive stream of 'Conveyor', the third album cut to be previewed so far.
There's a lot of talent in Manchester that tends to get overlooked, but it's a testament to the city's apparently inherent passion for music that this acts less as a barrier than as a hurdle that needs to be crossed at its highest point. Biome is a producer representative of this approach in that there is nothing rushed about his work and he only seems happy if what people are hearing from him is something that he can call fully-formed. After first breaking into dubstep with the sort of big kicks and dark mid-range found on tunes like 'Sonic' he has honed his sound to something genuinely original and he's now reaping the rewards of his patience and getting regular plays from some of the biggest names on the circuit. By considering the importance of the mid-range of a tune alongside the bassline and still keeping in mind the idea of space, Biome builds that ever-elusive sense of darkness into his beats whilst maintaining the energy within them that is necessary to get people moving on a dancefloor. We caught up with him for an interview and he's also contributed the latest mix in our exclusive series...
Hedmuk: To introduce yourself, what's your name, where do you come from and how would you describe your sound? Biome: I'm Biome, I'm from Lancashire originally but now living in Manchester. I'd describe my sound as deep, dark and sub-heavy but mostly just dark.
H: How did you get into making beats? Are you from a musical background or was it something you picked up yourself? B: It's something I've been interested in since being about 10 years old. I was brought up listening to and understanding classical music but fell in love with hip hop from the moment I first heard Onyx and Wu-Tang. I started messing with Ejay and music for the PS1 when I was 11 and my passion for creating got stronger. I purchased Ableton when I was 14 along with Reason and started out making drum and bass with Indigo. I was messing around with production for a while and then the dubstep scene started to emerge and it was at a time where both me and Indigo were looking for something new and exciting, as drum and bass around that time seemed to have lost its edge. Since then I've stuck to making dubstep and drum and bass, but I'm definitely pushing the dubstep a lot more at the moment.
H: Where do you draw your influences from, and are they mainly musical or do you take ideas from other things aswell? B: My influence can come from anywhere: the best influence for me comes from films as I like to create a scene with my music. I like film soundtracks and the way they are constructed. I take my drum influence from hip hop mainly as I always loved the half step swing and have never been too much into 2-step or garage because I always preferred jungle when it comes to fast skippy beats.
H: Some of your earlier releases, such as that alongside Dom Hz on Subdepth, had a greater dancefloor focus; are you still making this range of sounds, or do you tend to focus in on building tunes of a certain style? B: I still mostly make dancefloor music, I've just matured a lot within my style. I've finally begun to really mould my sound. I'm still making a lot of mid range bass within my tunes but with a much more tasteful nature than the screeching sounds of today's jump-up scene. I like to use synthesis intelligently and create a groove around the beat with the bass as opposed to just using the beat as the main rhythm. I'm very much into the deeper side of music and take a lot of influence from Indigo and Synkro and the music they play me, but I take that and interpret the sound in my own, usually darker, way. I've got a Mindset release forthcoming which I think will show another side to my production, a lighter and slightly more emotional style of production.
H: Having been hailed as criminally underrated for so long, how does it feel to be breaking onto the scene via Youngsta's revered Rinse slot? B: I'm pleased with how things are going at the moment. Youngsta's helped me a lot with feedback and promoting my tracks on Rinse: he's the one DJ who's always played the sound that I was massively into. I've always been into the techy side of music, coming from a D&B background and being heavily influenced by producers like Calyx, Teebee, Silent Witness, Spor and nowadays especially Noisia. I wanted to recreate this sound within dubstep but on a deeper, dubbier level and Youngsta was pretty much the only main DJ on the scene playing that style so it was good to link with him; we're definitely on the same wavelength when it comes to music so we get on well.
H: Manchester is a city brimming with talent, yet it seems to be continually overlooked: what would you put this down to? With similar situations in both Leeds and Birmingham, do you think that the student-dominated/oriented nightlife of these cities is a major factor? B: I'd say that as dubstep has been evolving it's taken time for producers from other cities to get involved due to it starting out as a London scene. As time has passed I think it has become a lot more open to producers all over the country and world. If the music's good and it's pushed with the right people it usually gets out there. I would say that within the Manchester club scene it hardly seems worth booking anybody but the really big names as it is student dominated and the crowds go for the names they know. It's more likely that Manchester artists get better gigs outside of Manchester. There is certainly a lot of talent within Manchester and other parts of the country but there is a feeling that you still need a helping hand from people primarily on the London scene to get you noticed.
Music should be universal and not really seen as a 'Manchester sound' or a 'London sound' etcetera. All music has to originate from somewhere and there will be a reason why a certain style has come from a certain background and the influences it's taken from that. I think within Manchester there's a much bigger call for the deeper soulful side of music because that seems like the main influence around us, and something I certainly draw a great influence from myself.
H: Talk us through how you went about putting together the mix you've done for us. B: I went along the lines of a more listenable mix for this: strictly 140 dubstep but crossing a lot of sub genres within it. I wanted to show the true extent of my sound and also represent the artists whose work I'm massively into. I've tried to make it a journey of sound so it's not just bangers throughout or deep and musical throughout but a mixture of it all taking different directions to the groove of the mix without losing energy or interest.
H: Finally, are there any forthcomings or anything in the pipeline that you'd like to put the word out about? B: I'm in talks with a few different labels at the moment; nothings 100% yet but there should be some big releases heading out soon and one to look out for is the next Mindset release.
A DJ who has been on the circuit since the mid-noughties, Syte has graced numerous pirate and internet radio stations as well as the decks of some of the most influential and forward-thinking clubnights in the country whilst also putting in the work running his own label, OpenEarz, and more recently joining with Rinse FM's Crises to push the label extension of MindStep. He's currently among a selection of talented DJs fully supporting the new breed of deep producers breaking into the scene with a fresh take on the classic spacious sound. We caught up with Syte to ask him about his role within the scene as a DJ, label owner and A&R and he's also laid down a mix for our exclusive series showcasing some of the artists and tunes he's feeling.
Hedmuk: For those who don't know, what's your name, where are you from, what sounds do you push and how would you describe your mixing style?
Syte: Easy, my name’s Jim and I live just outside the north west side of London in leafy South Bucks! These days I guess I’m pushing more of the deeper end of dubstep music in my DJ sets, but in general I just play tunes with a good amount of sub-bass: that’s the main criteria! My mixing style basically reflects the sort of DJ set that I’d like to hear if I was on the other side of the speakers; I try to pick tunes that work well together and I definitely treat each set a bit like a musical journey…for the listener and also for myself.
H: When did you start mixing, and what styles were you playing then?
S: Hard to remember when I started, but the first time I really got on some decks was at a mate’s who was really into hard house. When I finally got my own decks and began buying tunes I guess it would have been about 7 or 8 years ago and I started mixing dark, freeform hardcore, some breaks and a bit of drum & bass. Someone showed me 'Midnight Request Line' and I immediately went on a mission to find out and acquire as much of that sound as possible. I hadn’t really heard it called dubstep at that time, then Mary Anne Hobbs did the now legendary Dubstep Warz show on Radio 1 and I knew straight away the sound was destined for big things.
H: Over the years you've played alongside some of the biggest names in dubstep, what would go down as your most memorable gigs?
S: Yeah I’ve been blessed to play alongside some really gifted and groundbreaking producers over the last few years. There's so many different events in different places it’s hard to single them out but I gotta big up Resonance in Reading, Infraction in Milton Keynes, BASS! in Newcastle and Dubkulture in Croydon, definitely all memorable shows. More recently I really enjoyed One Love Festival last summer and I just played in Belgium last month which was amazing: anyone heading out there check out Rotation in Ghent and Midnite Run in Brussels!
H: Having appeared on numerous radio stations such as Rinse, React and Sub FM. how important do you think radio is for the more underground genres of music unlikely to get mainstream airplay?
S: I think it’s vital for underground music because there are so many people making good music and not everyone is going to get playlisted on 1Xtra, you know? It’s definitely needed for showing the average person about new music at a grass-roots level. I don’t know if I would even have got so heavily involved with dubstep if I hadn’t started doing the regular show on React FM when it was still running and I’ve always enjoyed doing radio, it’s something I hope I can always be involved with.
H: How did your label OpenEarz get started, and what was the motivation behind starting the imprint? What are you plans for the future of OpenEarz?
S: I just got to a point where I was stepping into record shops in London to check out the new releases and wasn’t always getting that inspired by what was making it onto the racks. I originally started radio playing on an internet station run by a friend based in my local area, and Synkro also started a show on the station. As soon as I heard his tunes I knew he was going to be huge when people heard them and after the station shut down we kept in contact. He supplied the tracks for 001 in the shape of 'Rudebwoy' and 'Hornz' and I was so inspired by the sounds coming from other producers in Manchester that I signed material from Indigo, xxxy and Dom Hz for the second and third releases. The fourth release has been held up with some distro issues recently but the tracks are 'Lockdown' and 'Lykasea', both produced by Phaeleh with Jut Lew featuring.
There’s lots more material ready for release, I’m not saying too much for the time being but there will also be a digital sister label launching soon which I’m very excited about. Also, a lot of people have been asking whether digital formats will be available of the first 3 releases so I can announce that should be happening soon.
H: You're also involved with the MindStep label and collective, who are making positive moves within the deeper end of the dubstep spectrum: how did this come about, and can you tell us a bit about the thinking behind MindStep?
S: I met Crises when I was playing at Dubscover in London; we got talking and connected straight away on a personal and musical level. I joined MindStep as a resident DJ which has been a great experience and I help to promote the events which have been running in East London for just over 2 years. The idea of the label is an extension of the music policy of the events: to create a deep mindful experience within the electronic underground world. It’s also an opportunity to shine the spotlight on up-and-coming producers that deserve recognition for their craft - the compilation features several artists that won’t be familiar to some people and there’s a mix of flavours for every listener. We’re holding a launch party at Gramaphone on Friday 15th and the 17 track compilation drops the following Monday on Beatport, check out MindStep on Facebook and Soundcloud for more info!
H: Tell us a bit about how you went about preparing the mix you've laid down for us.
S: I’ve been following the content here on Hedmuk for a while and really enjoyed all the mixes so far, noticing the clear emphasis on deeper, darker sounds so I really wanted this mix to reflect my interpretation of the direction that sound is heading in. Whether you want to call it 'dungeon' or something else, I really feel there’s a strong movement of deeper producers with huge talent bubbling just under the surface of the dubstep scene at the moment so I guess this mix is a showcase of some of that talent. There are so many producers whose tunes I’m feeling it could have carried on for another 2 hours!
H: Finally, is there anything forthcoming or in the pipeline that you want to put the word out on?
S: Yeah just keep your ears to the ground for announcements about upcoming OpenEarz releases, make sure you support the MindStep Music compilation and hit up my various networking pages for info about what I’m up to or to book me: big up Hedmuk!
With an eclectic production repertoire spanning a range of styles within bass music, Manchester's Dom Hz has consistently delivered tunes of real depth, variety and originality. His releases are a testament to his range: 'Don't Stop', out on Subdepth Records, is a dark, thumping, roller; Dub Discipline and Dub Trippin' - both collaborations with fellow Mancunian Synkro - are dubbed out tracks reminiscent of the War series output; and the three track Mist EP has a summery, ambient and altogether more soulful vibe. We caught up with Dom to discuss his tunes and influences as well as his regular Rood FM slot and to hear his take on the Manchester bass music scene. Dom has also contributed to our mix series showcasing an array of dubs and forthcoming releases as well as some new, unfinished bits.
Hedmuk: Just as an introduction , what’s your name, where are you from and how would you describe your sound?
Dom Hz: Hi. My name's Dom, I Produce under the name 'Dom Hz' and I'm from Manchester. Describing my sound is tricky as I make tracks according to my mood and influences around me at the time; I think most people would place my material under the dubstep/2 step genre, but I prefer 'Bass Music'
H: How did you get in to making beats?
D: I played keyboard from a young age, when I was 15 I started writing lyrics to drum'n'bass and hosting in small nights in Manchester; at 16 I started a music course at Mancat College and learned Cubase and Reason. It was then I realised I wanted to make beats.
H: What, in your opinion is your best beat to date? Why?
D:. Tricky question... If I had to say one in particular, probably 'Without You'. Its a mellow, downtempo dubstep track with warm rhodes and a nice vocal sample. I played live piano riffs on top and really got stuck in with the percussion. I was very happy with the overall sound of the track: I learned a lot of new tricks whilst in this project. It was released on the flipside of my 'Mist EP' 12" on Open Earz and later selected by Joe Muggs to go on a 'Ministry of Sound' compilation CD: good times!
H: You don’t seem to limit yourself stylistically to one genre; can the same be said for your influences? Who influences you?
D: Yeah definitely, I listen to loads of different music, otherwise I get bored! I get inspiration from everywhere, if I was to mention names from the styles that I make I would have to say artists like MJ Cole, Todd Edwards, Commix, Lomax, RSD, Ruckspin, Roska and too many more to mention. Also, a lot of my friends such as Synkro, Biome, Indigo, Shadowfax, Sparks and loads more.
H:Your beat repertoire contains a number of different styles; Garage, 2 Step, Dubstep, DnB and Funky. Do you personally make any attempt to define the music you make into genres? Or do you prefer to see the boundaries between different styles of Bass music as more fluid?
D: Yes and no. I make sort of whatever comes out at the time, but I do try to stick to certain genre techniques, structures and tempos mainly for dancefloor and mixing purposes. I do try to switch things up to keep it exciting, for example most of my 2 steppy stuff will at some point have a half time section etc.
D: Ah, Rood FM. That's a whole lot of fun! Basically, 'Fish' (the geeza who runs it) sent me an email in December asking if I fancied a slot, it just so happens that I was actually thinking about doing a radio/podcast thing at the time. It's just starting up, but the website is very professional and the sound quality is very high. I play it weekly from my friend and fellow DJ/producer, Holden's house. He's got a great setup with Pioneers and a strong internet connection. Basically we have a bit of fun with it: lots of jokes in the shoutbox etc. I've been told we are fun to listen to!
H:Do you view yourself most strongly as a DJ or Producer?
D: I think my DJ skills are pretty average, I can beatmatch 2 tracks pretty well, but I'm no good with party tricks like scratching and beat jugglin'. I don't think I'd get booked to DJ without producing and releasing music. So I'm probably a better producer.
H: You’ve long been involved in the Manchester Bass scene alongside the likes of Synkro, Biome and Chimpo, amongst others. How do feel this scene has developed? And is it a fast-paced scene – are new producers, styles, influences always entering entering the fray?
D: I always think that Manchester seems to not get as much attention as it deserves in our genres. But obviously guys like Synkro and Indigo are definitely breaking the mould in a big way. Chimpo's tunes and remixes are too much, as for Biome, well his new stuff is the best music I've heard since Noisia! Newer producers like Shadowfax and Sparks will soon be doing big things in my opinion. The future's definitely looking better for the Manchester artists that I know and I'm sure there are many more that I'm not aware of.
H: Were you trying to get at anything in particular with this mix with your selection and blends?
D: When I do mixes I tend to just play what I'm feeling at the time. Although there are a couple of my unfinished bits at the start of the mix that show where I'm moving towards. Everything in this mix is a real personal favourite of mine at the moment.
H:Just to finish off, any forthcomings or plans in the pipe-line you would like to share?
D: Loads: quite a few releases lined up, next one I think is forthcoming on Subdepth, 'Hollow', quite a jump-up style release. I will be carrying on my show on Rood every Wednesday, gigging wherever I can, and I'm very much looking forward to playing at Outlook Festival in September.
You can catch Dom Hz with Holden, every Wednesday 6-8 PM on Rood Fm.
From having given the likes of Skream, Loefah, N-Type, Pinch and Kromestar their debut Manchester bookings to hosting the first Deep Medi showcase night, Ken-Evil's contribution to the scene has been huge. HEDMUK caught up with the man for an exclusive interview and mix featuring the tunes he's playing out at the moment:
Hedmuk: Would you say you were from a particularly musical background, or was it something you found yourself drawn to naturally?
Ken Evil: I'm not really from a musical family as such, although some of my earliest memories are of playing my Dad's records in the early hours of the morning when everybody was still asleep. There was always music in the house growing up and I have been an avid record collector from the age of 7.
H: What were your early influences in deciding to DJ and then produce?
K: My earliest exposure to mixing came from listening to early Electro and Hip Hop mixes from the likes of Afrika Bambaataa and Grand Master Flash from labels such as Tommy Boy and Def Jam. I didn't give it a go myself until relatively late on when I started playing Drum & Bass, being into the darker side from the likes of Dillinja, Lemon D, Spor, Evol Intent to name but a few.
H: Given your background in Drum & Bass, how did you come to find Dubstep so early in the scene's inception, and what motivated you to become part of it?
K: I guess you could say I followed the evolution of Dubstep from it's roots in UK Garage and later Grime when it was known as either Sub-Low, 8 Bar (as it changed every 8 bars) or simply 'Instrumental Grime'. One of the things that excited me most about it was that practically all the early producers were from my home town of Croydon - Plasticman (later Plastician), Skream, Loefah, Benga, Digital Mystikz, Hatcha, Artwork, everyone basically; and believe me, there's not much else that I can say I'm proud about coming out of Croydon for.
H: What was the motivation behind setting up Bass Camp?
K: Basically I'd found this new music and I wanted an outlet to play it. I'd previously been involved in running nights in Manchester and Madrid but was getting tired of D&B and this new sound excited me in same way that D&B did back in it's inception from Jungle and Hardcore Rave before that. It was something new and heavy and had lost the at-times cheesy elements of Garage and the self-aggrandizing ramblings of Grime. I remember tunes from Mark One (MRK1), Plasticman, Slaughter Mob, Kode 9, Pinch and Skream's first white label on Big Apple featuring in that first Bass Camp set.
H: Outside of FWD, which had been running since 2001, what was the Dubstep scene's infrastructure like in those early days and before the likes of Bass Camp here in Manchester and Exodus in Leeds, how limited was the North’s Dubstep scene?
K: Back in 2004 Manchester had producers such as Mark One, Omen and Zed Bias and the now defunct record shop Pelican Neck. Conor who worked there was the first to bring the likes of Vex'd up to Manchester and he always made sure the latest white labels fresh off the press were under the counter for my 2-3 weekly visits to the shop. Pelican Neck was run and owned by the Boomkat crew which was one of the first on-line or otherwise outlets for the emerging scene anywhere in the world. It was in the shop where myself and the likes of Se7en (now Indigo), K1, Mark One, Conor (U-Basstard), D'Script and Biome would meet up and discuss music and swap dubs; that was where it all began for me.
H: Bass Camp has been very influential, it was the first time many producers in the area were exposed to Dubstep. What does this influence mean to you, and how have you been able to witness it first hand?
K: It always gives me a great feeling of satisfaction when someone comes up to me and tells me that it was coming to Bass Camp or seeing me play that got them into Dubstep; I was recently told that Synkro found his inspiration from coming to one of Bass Camp's early events. Things like that mean a lot to me and is what makes it all worth while.
H: What would you consider to be your personal highlights of running Bass Camp over the years?
K: When Skream came up to play we had people travel over from Liverpool, Leeds, Leicester and from as far away as Norfolk, Cambridge and London; by 11pm Jabez Clegg was rammed! Rusko recorded an exclusive 'Auld Lang Sine' version of 'Cockney Thug' for our New Years Eve '07 event: that was pretty special. Hosting the UK's first Deep Medi event was a real privilege, the vibe was amazing that night and Mala absolutely loved it. Cyrus, Heny G and Walsh at the Chapel was rocking until 7am and when MC Subz told the crowd to get down low the whole place was skanking down to its knees. N-Type b2b Walsh with Easy Rider on mic as secret special guests; Kidnappa's first Manchester show, the list goes on.
H: What’s been inspiring you musically recently, and what releases are you looking forward to this year?
K: UK Funky has been creeping into my sets more and more over the past year, I'm also feeling the new wave of cross-over Funky/Dubstep artists such as Joy Orbison, Shortstuff, L-Vis 1990, Brackles, Redlight, Untold, Cooly G etc. Anything on Night Slugs is worth copping and I eagerly await that labels future output. Truth from New Zealand, who've played Bass Camp twice now, have a Disfigured Dubz EP and long awaited Aquatic lab LP ready to drop and they're going to be massive. Kutz, part of the new wave out of Croydon, has some serious productions in the pipeline and Cyrus has an LP due any time soon.
H: We had noticed more UK Funky in your recent sets, what was it that encouraged you to make the move?
K: Put simply, it's good shit. Like early UK Garage it's image has been tainted slightly by the more commercial/cheesy elements, but look deep into the scene and there's some seriously heavy stuff in there.
H: So then, you’ve DJ'd at major British clubs and across Europe, produced your own tracks and run your own successful night since 2004: what do you see as your primary role in the scene: a DJ, Producer or Promoter?
K: My production has been pretty limited to this point, and Bass Camp has been my main vehicle for pushing the sound but DJing has taken me the furthest in my musical path; Creamfields, the Warehouse Project, Ape at the Apollo and Outlook in Croatia being the major highlights.
H: You’ve been part of the Dubstep scene since the beginning and it may be an over asked-question, but what are your views on the future of the genre?
K: Dubstep has begun to splinter into various sub-genres as was inevitable and a lot of new people have started getting involved and producing their own take on the scene. This has resulted in a dilution of the quality in many respects and there is a massive new wave of very popular 'Jump-Up', mask-wearing producers that make pretty generic, high pitched tunes which sound to me like the Drum & Bass that was around at the time when Dubstep was evolving. Dubstep to me at the time was the antidote to this kind of D&B but I've always known that this element of instantly gratifying, dare I say it, dumbed down Dubstep would come along. I don't like most of it but it's out there. The simplicity and subtlety of early Dubstep was what made it different and interesting and a lot of the 'Jump-Up' artists seem to have overlooked this, although I love the likes of Jakes and Coki and did used to like Caspa and Rusko. On the other hand there are people still taking the sound to new and interesting places, Joy Orbison, L-Vis 1990, Untold, Scuba and Shortstuff in particular and these producers give me hope and are keeping the scene vibrant. Everything on Mala'sDeep Medi, for example, is of the absolute highest quality but as the scene becomes more popular it's overall quality will unfortunately suffer.
Besides the ridiculous line up Thrasher put together for its Warehouse Project event in October, this week's 'Menage a Trois' between Hit&Run, Prostitutes & Policemen and Format boasts one of the biggest bills to come to Manchester yet. Fyah!!!!
