Featuring: Distance

We're not ones to make a big deal out of numerical milestones here at Hedmuk, although there have been a few that have been noted quietly, but since first speaking with Distance about the possibility of having him contribute an interview and mix to our exclusive series we thought it might be worth holding out until we hit our half century. We're not really ones for looking backwards either, and a(n ironic) quick glance back over the forty-nine artists whose contributions precede this one is testament to the future-facing approach that Hedmuk is, and has always been, about.

Of course it's fitting, then, that we be able to talk with a producer who has, since first sitting down in front of a sequencer or - further back - picking up a guitar, been firmly focussed on what lies ahead and how he can bring a bit of himself to it. Being at the forefront of the dubstep scene since its very earliest beginnings wasn't anything to do with luck or 'right place, right time' or any of the other cliches: what really held the sound's pioneers together was exactly the fact that they were all pioneers, all looking to do something new and all bringing their own individual edge to it. Mary Anne Hobbs' legendary Dubstep Warz show was two hours of purely innovative music, and would arguably have been notably less so without the contribution of Distance (or any other of the individuals involved): such was the balance, tension even, that kept things fresh and continually moving forwards. 'This show will change your life', the ident claimed, and it was certainly no flash in electronic music's pan; things may have changed a lot since then, but what hasn't is Distance's dedication to pushing a sound, through his own productions and through the music he releases on his own Chestplate imprint, that he can believe in...


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

Distance: I'm Distance and I'm from Bromley, I would describe my sound as dark, futuristic, emotional energy (laughs).

H: Your interest in heavy metal, and its visible influence on your music, has been fairly well documented; but what was it that drew you over to a more electronic-based approach to writing music? How far do you feel that this more distinct musical background aided you in developing a unique sound within the 140 spectrum?

D: Well during my later teens I started to listen to the electronic artists such as The Prodigy, Aphex Twin and Portishead aswell as many others, but dance music had always been around me I just hadn't paid a lot of attention to it: my main focus was metal. Some of the bands I listened to started to include drum machines and samplers in their tracks and that's what probably sparked my original interest. During college I met a lot of new people who were into completely different styles of music to me and that's when I really began to take notice of underground dance music such as UKG, drum & bass and even some more commercial stuff. I became a massive DJ EZ fan and would always check his show on Kiss FM, but over time I noticed a darker sound slowly creeping into UKG: something which really grabbed me and it reminded of the dark energy and emotion I felt from metal. This dark UKG music became dubstep. That's cutting the story very short, but for me that is where it all started: it was at a time when I would mix Todd Edwards into Pulse X into Wookie then into something ridiculous like a Misteeq remix (laughs).

I think metal music definitely influenced my production; if you listen to my earlier stuff the drum arrangments were crazy: so many drum rolls and edits - something which I'm looking to go back to, actually. I was also one of the first people to be using distorted basses in tracks and this was because of my love for distorted guitars; it was natural for me because I had already been playing guitar for years so as soon as I created a synth sound or bass it was only natural for me to think 'well I might as well add distortion and why not a flanger', and that's how my experimentation with sound design really began: by processing my sounds as though I was putting a guitar through a multi-effects unit.



H: Both of your albums were released in fairly quick succession, and were key in establishing you as a major player with a unique sound: can you see yourself writing another album at any point in the near future? 

D: I've been starting my 3rd album for the last 3 years! (laughs) But I keep getting involved in other projects, I will be properly starting it soon. I have tracks which are unfinished which I know will be album material: everytime I write something new and it doesn't really fit within a scene's template I keep it in a special folder (laughs). It will be much more experimental them my last 2, and it has to stand up to them.

H: You mentioned recently the possibility of a Deleted Scenes album, alongside Pinch: how likely is it that such an album will be released?

D: It's very likely! We've been talking about it for years and what was just us basically doodling is slowly developing into something very unique and exciting. Whether or not we make dubstep, you will have to wait and see.

H: With many of the names alongside whom you were instrumental in pushing dubstep now taking the tempo down a few notches, working and experimenting particularly around the 130bpm mark, have you been moved to try your hand with different tempos and styles?

D: I've got so much material at different tempos, I'm just holding it down for the right projects and the right time. I did have 3 drum & bass tracks surface thanks to the Autonomic lads and I've got a load of other drum & bass tracks almost finished; I actually posted up a new one today on my Soundcloud. I've been writing some crazy dark hip-hop and weird housey beats at 110bpm too, some of which are deliberately made for vocalists.

H: You've always been known to engage with your fanbase, most notably perhaps through your video tutorials. How important is it to you that that relationship between artist and fan is maintained?

D: I think it's very important. In regards to the tutorials, I've seen so many people just post bullshit which doesnt relate to anything: 'How to make Skrillex basslines', 'How to make Noisia basslines' ..... FUCK OFF! None of the people making those tutorials can make anything close to what these artists can, it cracks me up. I would rather show people the basics so they can go away and create their own sounds. Part of the reason dubstep has now become so over-saturated is because everyone has access to Youtube and rather than spend the time and produce a stem of creativity they would rather copy what some prick is doing on Youtube. It's all to easy. I spend days even weeks creating new sounds.

What you see is what you get from me, that's probably why some of the GetDarker TV episodes with me in are so messy (laughs).



H: You seemed to step things up with Chestplate in a big way in 2012, with regular releases from new signings, residencies at Fabric and 1Xtra, with the Daily Dose series. What made you decide to redirect the bulk of your energies towards the label rather than your own solo output?

D: It just felt like the right time: I was getting hit up to do so many remixes plus other things, so first of all I wanted to make sure the label was still putting out material, and secondly I wanted to create a solid label with solid artists. I didn't want to be one of these labels that ended up with 50 people on its roster, I wanted it to be a tight crew. This also meant that the artists got regular releases, rather then being number 20 in a waiting list.

As I'm sure most people know, I wasn't a massive fan of the whole 'brostep' or tear-out side of dubstep, so I wanted to be the label that remained true but still brought out future-sounding music. A lot of the other dubstep labels jumped aboard the tearout train and basically released anything they could, hoping for a number one in the charts (laughs).

As for the Daily Dose thing, MistaJam approached me to do it but at the time I couldn't because I was still on Rinse FM so it just became a Chestplate Daily Dose. That's now come to an end, but much respect to MistaJam and 1Xtra for having us be involved.

I still dont know how the Fabric thing happened, (laughs) the guys at Fabric are amazing though and very supportive. Every Chestplate takeover has been nuts: feels like the proper old vibes you got from the earlier dubstep raves.

H: Your back catalogue reveals what would appear to be a dedication to labels with a strong image in terms of the music, ideals and aesthetic that they want to represent: is this something you've always envisaged Chestplate as having? How important is it to you that your label be viewed as 'bag-on-sight'?

D: Definitely, and I want it to be one of those labels that people can trust enough to buy on sight and know that I don't just release tracks for the sake of it. Most of the tracks are ones which I've seen go off at a rave or had ravers tapping me on the shoulder and asking 'what the fuck is this?!' Some tracks just grab you and you don't why: they're the tracks I want to release! Nothing I do is based on hype, hype is exactly that: it's exciting for a very small moment and then it's gone, a bit like candles on a birthday cake. Most of the hype people see or believe to be real is actually bullshit and just a result of very good management.



H: Re-releasing 'Falling' on your own label after it had already been put out by a major label seemed a bold move: was it as simple a case as wanting to have the tune out there on vinyl as well as digital, or did you see it as an opportunity to direct a new audience towards Chestplate? How important is it to you that your music is released on vinyl?

D: I don't think it was released after, but if it was it wasn't deliberate: it was supposed to be at the same time. I pressed it because Island were not going to release it on vinyl so I offered as I thought it would have been really sad for 'Falling' and 'Malice' not to have been pressed. At that time 'Malice' was still a big underground tune in my set and some people were expecting to have it on vinyl, I still find it amazing that a label like Island released 'Malice'.

There was never a secret agenda though, no dreams of being best mates with the stars (laughs). The only reason 'Falling' got signed was because it was a big underground track that just-so-happened to work on a commercial level too.

H: Since Chestplate was established as a platform from which to release your own music, how easy or difficult was it to find new artists for the label who you felt were doing something new and original and yet still fitted, to some extent at least, with what the label already represented?

D: Well the main reason I started to sign new artists was because I was hearing new music which was amazing and yet no one wanted to release it. It all started with Tunnidge and '7 Breaths'! I just couldn't believe that no one had snatched it up and I just thought 'Fuck this! This is a sick tune and it has to come out!' I then heard music from an unknown guy called District and then later down the road Sleeper and Razor Rekta.

I just heard something very special in their music even though the mixdowns weren't great and they weren't super polished, they had a hold on me. I would have found it devastating if these guys never had a chance to get their beats out there. I'm sure so many producers at that time making deeper dubstep moved onto other sounds or became disheartened. If I'm honest, there were only a few labels which really kept dubstep interesting and kept things moving forwards; a lot of labels became lost chasing whatever sound seemed to be doing well commercially, and in the long term have completely lost their identity.

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

D: My next release on Chestplate is out in May and that features 'Set You Free (feat. Stepa)' and, on the flip, 'Gorilla Force'  Chestplate's next take over at Fabric is on the 24th of May. I'm also currently working on a vocalists album, which is almost finished, and even though it isn't really my project I can't wait for people to hear it.

Pinch and I are also in the thick of writing the first Deleted Scenes album and I can honestly say I've never felt this excited about a project before: next level beats!!!!!



Download: Distance - Hedmuk Exclusive Mix



Tracklist:


District - Kraken [Chestplate]
J:Kenzo - Cause & Effect [Dub]
Cyrus & Distance - Rude [Chestplate]
Distance - Set You Free (feat. Stepa) [Forthcoming Chestplate]
Sleeper - Systema [Dub]
Distance - Gorilla Force [Forthcoming Chestplate]
District - Antidote [Chestplate]
Razor Rekta - Metro [Dub]
Distance - Twilight (Tunnidge Remix) [Dub]
Distance - Broken Dawn [Dub]
District - Transmission [Chestplate]
Distance - Meanstreak [Chestplate]
Sleeper - Species [Dub]
J:Kenzo - Ricochet [Dub]
Distance - Andromeda [Dub]
Proxima - Fallout [Dub]
Razor Rekta - Apollo [Dub]
District - Aftermath [Dub]
Icicle - Acid Step VIP [Dub]
DJ Madd - Life You Chose (Distance Remix) [Black Box]
Gantz - U Won't Mind [Dub]
Sleeper & District - War (Tunnidge Remix) [Dub]
Sleeper - Total Destroy System [Dub]
Pinch - Swish (Distance Remix) [Dub]
Amit - No Mercy (feat. Rani) [Dub]

Distance - HEDMUK Exclusive Mix by Hedmuk on Mixcloud

W.

Review: Cyrus & Distance - Titan / Rude [CHST025]

After a strong year for Chestplate and its handful of new signings it seems fitting that for this, the first release of 2013 and twenty-fifth to date, that founder and head honcho Distance should take the newer members of the label's fanbase on a moody jaunt back to where it all began. And who better to aid him in this than scene stalwart, and the man responsible for some of dubstep's moodiest basslines, Cyrus.

The release is perfectly balanced: 'Titan' heads up proceedings, harking back to the early Distance material - tunes such as 'V' and 'Victim Support' - that helped establish Chestplate as a bag-on-site label. Lurking behind the guitar-lick synths, though, is the steady nod of Cyrus' hats which hold the tune's pacing, thickset in a rolling sub. 'Rude' features as the AA-side, and if 'Titan' is reminiscent of the sounds that confirmed Distance as an original talent, the sparse, upfront aesthetic on show here is not far (perhaps only one Eastern string sample) away from the seminal material that made up 'From The Shadows'. Drums and bass, and a little atmosphere, working together for a case of pure, almost gleeful sulk.


Cyrus & Distance - Titan / Rude [CHST025] is set for release on the 11th of February 2013.




W.

Featuring: Sleeper

This one has been a long time coming: when we first featured District way back in March of 2011 there was talk of doing a joint feature and including his regular production partner Sleeper too, but since both producers were delivering plenty of material as solo artists the decision was made to take them as individuals; and so, over a year and a half later, is, if you like, the 'second half' to what is a very impressive whole. Sleeper has spent the last year or so establishing himself as one of the most consistent go-to producers within dubstep, but has not used this as an excuse to rest on his laurels and continues to challenge himself both in terms of creative direction and production technique. But before the interview and exclusive mix, Sleeper - now well known for his generosity when it comes to giving music away - is offering up his track 'Shook' for free download: a good introduction to where his sound is right now, with twisted Reese basslines being draped over driving dub-techno hybrid drums and all swamped with dark atmospherics.


Download: Sleeper - Shook [WAV]
Download: Sleeper - Shook [320kbps mp3]



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

Sleeper: My name is Alex and unfortunately I come from Coventry (laughs). I've been writing what I would describe as deep, dark, bass-heavy electronic music for a little while now.

H: Would you describe yourself as being from a musical background? What was it that got you into making beats, in particular dubstep?

S: Yeah, I've been into music for as long as I can remember: I got some turntables when I was 14 and started playing House and Techno while everyone else at school was into Garage. When I left school I got into Jungle and Drum & Bass and stopped buying Techno records and started collecting stuff from labels like Metalheadz/Reinforced/Soul:r/Commercial Suicide/Bassbin. I think it was Jungle that really got me interested in how music is made, I was always amazed by the creativity in the drum work - especially guys like Photek, those guys really took the concept of drum editing to a new level.

At the time I had no idea at all how I would go about creating the sounds I was into, so I found a six month course on sound engineering started messing around on Cubase. The only thing I knew was how to import a sample and move it around, so all I could do was build loops. It took me a while to really get into it as I didn't have a computer of my own, but when I moved up to Leeds I got a PC and a few cracks and taught myself how to make beats. I started off making Jungle and Drum & Bass because that's what I was really into at the time, but began to play around at 140bpm after going to some of the early DMZ/Exodus nights at Leeds West Indian Centre. Those nights were a massive influence on my sound.

H: This last year has been a big one for you: have you come to terms yet with how fast you've progressed from being relatively unknown to becoming almost a household name within dubstep? And have you felt under more pressure to deliver music, and to keep developing your sound and techniques?

S: Well I don't know about household name, but it's been really cool to find out more and more people are listening to my stuff over the last year. Sometimes it's easy to forget that there are people actually listening. Up until now I've just been used to making a few tunes and showing some friends.

I've never felt under pressure to deliver though. I write a lot and always have bits tucked away so there's never that feeling of not having anything new to play. Also, developing my sound and techniques has always seemed like a natural thing so I never feel like I'm not learning anything or [not] moving forward. Over the past year I have learned a lot about how to use my time effectively and how to be as productive as possible, which means I'm always happy writing and never feel a sense of pressure.



H: You've recently been making tunes with a notable techno influence, as well as some straight-up techno: do you feel that it's important to experiment with different sounds and influences? Do you feel that what influences you most strongly has been changing over the last year? 

S: Yeah for sure, I'm really enjoying making Techno stuff at the moment,.I've been on it properly for a good few months now and I'm pretty happy with some of my newer stuff, but it feels like I'm still finding my sound at that tempo. I'm not sure if it would be important for other producers to experiment with different sounds but I have found it to be really beneficial. When you approach a new genre, with little or no experience in making that style, you are kind of forced out of your comfort zone a little. You have to try new ways of working and learn new techniques in order to get a different result. But that may not be important to everyone.

As far as influences go, it's always changing. Last year I was feeling a lot more Dubstep and really dark Drum & Bass stuff like Limewax and Current Value, but this year I have been listening to a lot more Techno and Neurofunk/Techy Drum & Bass like the stuff Noisia, Neosignal and all those guys are making; but I'm not sure if that is to do with there being less and less Dubstep that I'm into or more Techno/Drum & Bass.

H: You've very much been welcomed into the Chestplate family over the last year: how much would you say you've benefited artistically from having such close ties with experienced and foundational producers/DJs like Distance and Cyrus?

S: Being involved in with Chestplate this year has been great: I couldn't ask for more. I've listened to both Cyrus and Distance for years so it's a pleasure to work alongside them, although I'm not sure how much I have benefited artistically. At times it feels like District and myself are kind of tucked away from the rest of the scene here in Coventry, so it's not like we are heavily influenced by anyone else in an artistic sense. I think any artistic or creative progress I have made has just been down to wanting to learn more and evolve my sound.



H: Having both released individually on Chestplate, you shared a release with District: did this feel quite fitting since you seem to have been associated with one another from the moment you broke onto the scene? Are you still working on tunes together regularly?

S: We had been working on stuff together for quite a while and built up a pretty big stack of tunes so it made sense to try and sort something out and luckily Distance was into it. The release seemed to be pretty well received too, even though we fully hate on the tunes now.
We've been mostly working on our solo stuff this year, for various reasons we have had less time to get in the studio together and get bits done but we do have a few things coming together at the minute. I even got the grumpy old metal head on a Techno bit too (laughs).

H: When we first featured District early last year we spoke about a new generation of producers and a renewed energy within the darker side of dubstep; would you say that things are still as fresh and exciting in this sound now as they were when you were first getting plays from Distance and Youngsta on Rinse?

S: I'm not too sure. Around that time it was definitely more exciting in terms of new producers popping up representing the darker sounds, whereas now it seems a little saturated with a lot of new guys making exactly the same tunes; but that's not such a bad thing: it always takes a while for producers to find their own sound and for genres to progress and split. It feels to me like the deeper, darker side of Dubstep is still developing as a whole. I'm certainly noticing improvements from both established artists and guys who some might consider to be newcomers this year, both in terms of creativity, technique and overall production quality. I think the next few years is going to be interesting for sure though, I'm pretty certain that the deep, dark side of Dubstep hasn't peaked yet.

H: Tell us a little about how you went about putting together the mix you've done for us.

S: It's just a bunch of tunes that I feel represents the deep, dark sound I'm trying to push. I've really tried make an effort to build more energy in my music this year and I think the tracks I have used in this mix shows that deep and dark music doesn't have to always be spacious and minimal: it can be for the dance floor too.

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

S: I have a release with Osiris due out in January, which is a track I made with District a little while ago now called 'The Risk', and a solo bit, 'Dark Mutations', on the flip. Other than that I have nothing else to reveal just yet but you can expect more releases from me in 2013 for sure.
I'm also looking to record a mix with all my Techno stuff from the last couple of months, so watch out for that online around Christmas day.

Also just want to say a big thank you to everyone who has supported my releases so far, to everyone who comes and says hello and had nice things to say at the end of my sets and to everyone who listens to my music online and spreads the word: you lot are all sick!



Download: Sleeper - Hedmuk Exclusive Mix


Tracklist:


Plastikman - Ask Yourself (??? Remix) [Dub]
Sleeper - Ill Intentions [Dub]
Sleeper - Species [Dub]
Razor Rekta - Aztek [Dub]
Cyrus & Distance - Titan [Dub]
District - Antidote [Dub]
Sleeper - On The Inside [Dub]
Distance - Gorilla Force [Dub]
Sleeper - Don't Ask Me [Dub]
Thelem - Synthetic Artifacts [Dub]
Sleeper & District - The Risk [Forthcoming Osiris]
District - Modulate VIP [Dub]
Distance - Set You Free (feat. Stepa) [Dub]
Sleeper - Ritual [Dub]
District - The Worm [Dub]
Sleeper - Systema [Dub]
Sleeper - Dark Mutations [Forthcoming Osiris]
Tunnidge - 7 Breaths (Distance Remix) [Dub]
Sleeper & District - Psychosis [Dub]

Sleeper - HEDMUK Exclusive Mix by Hedmuk on Mixcloud

Preacha.

Free Download: District - Proof

A statement of Chestplate intent, this latest free offering from the fast-rising Coventry producer has the the steady-treading pace of Cyrus' moodier numbers, coupled with the sense of control that runs through the likes of Distance and Tunnidge's dancefloor-projected tracks; and, of course, all the finely-detailed hallmarks that people have come to expect from District's productions: original synth sounds, atmospheric sampling, and acute attention to reverb, delay and sound design.

Free download: District - Proof [WAV]
Free download: District - Proof [320kbps mp3]


.Preacha.

Free Download: Soap Dodgers - Distant

It's nothing but a testament to Soap Dodgers' recent hard work in pushing their tightly-sculpted beats through the likes of Rinse FM's N-Type and Youngsta that after putting this one up for a free download via their Soundcloud page, the limit was reached within the hour.

'Distant' is a Tunnidge-esque tune as it treads a careful path between dark and moody and being able to get a dancefloor stepping without overdosing on mid-range and losing control of itself.


Download: Soap Dodgers - Distant


Soap Dodgers - Distant by SOAP DODGERS

.Preacha.

Featuring: Tunnidge

Tunnidge needs little introduction: one of the few producers to have two releases on the seminal Deep Medi imprint, the first to be signed to Chestplate Records following Distance's expansion of the label and co-owner of Origin Audio alongside Cyrus. With regular appearances on Get Darker as well a full and busy bookings schedule - which will take him to the states this Autumn - Tunnidge is somewhat of a looming figure on the Dubstep scene. Able to build both powerful, tear-out tunes popular in the club environment as well as darker, more contemplative production, his beats often tread the surprisingly fine line between Jump-up and deep relaying a real sense of momentum to any listener. Tunnidge has contributed the 21st mix in our ever-expanding feature series as well as finding the time to answer a few of our questions. Enjoi:

Hedmuk: To introduce yourself to those who may not yet be familiar, what's your name, where do you hail from and how would you describe your sound?

Tunnidge: I Produce and DJ under the name Tunnidge, I grew up on the outskirts of South East London I suppose you could describe my sound as dark and raw dubstep. I try and walk the line between depth and dance floor.

H: Are you from a musical background, or was it something that you picked up yourself? How did you get into making beats?

T: No I'm not form a musical background, music production is something that is very instinctive for me. I always listened to dance music so found the process of production and structuring very intuitive. I suppose years of listening and going to raves helped me gain a sense of what in my opinion works on a dance floor. I got in to making beats mainly from having friends that were making music. I was always awash with ideas and so it was just a process of learning what I could from tutorials and asking questions. People such as Rob Sparx, Slack, Cyrus and Distance have always been massively helpful, but I think as most producers will tell you, you end up developing processes that work for you. It’s always interesting finding out how other producers work and what their processes are, it’s good to be in a constant state of discovery.

H: Your tunes seem to hit the middle ground between the sort of deep rollers made by Cyrus and the tightly aggressive style of Distance; do you tend to make beats with a club/dance situation in mind?

T: Everything I build is built for a Sound System, so yes I suppose it is all pretty much aimed at a dance floor. However in a dance situation I am not always looking to just have that bass face moment, it’s good to make something deeper and perhaps take the music to another place this also helps heighten the intensity when it’s time to bang out. I seem to have subconsciously developed a production technique where I make one tune for the dance floor and one tune for me. This is something I try and reflect in my releases.

TUNNIDGE Dark Skies by Tunnidge

H: With producers like Pinch and Cyrus recently branching out and making beats nearer the 130BPM mark, have you been experimenting with other styles and speeds at all?

T: Yes I actually have a whole heap of stuff around the 130bpm mark. I think its great to try your hand at different genres, you learn so much and also in can revitalise your approach to your chosen field. Every time I go to Loefah’s he plays me loads of forthcoming Swamp81 bits, and his passion for it is quite infectious so I usually end up going back to the studio and knocking out some beats on this vibe. At the same time I think Dubstep as a genre has so much still to offer, the media attention and money have kind of stifled the creativity that was about a few years ago, but like all art forms the pendulum will swing back, and I’m excited to see where it takes us.

H: Despite the internet playing such a big part in the expansion of dubstep as a sound and genre, a lot is still made of its actual geographical origins in Croydon; as someone from the area in which Dubstep was 'born', how important a role do you think location played in the creation of the sound?

T: Where I am from is maybe 20 minutes from Croydon so im not sure how well I am equipped to answer this, also when the sound was really developing I was living in a totally different part of the country. So it’s not like I was about when Myztiks, Loefah, Hatcha, Cyrus, Artwork, Benny Ill, Benga and Skream were really starting to push things in Big Apple . My point of contact was Mala who would play me all the beats send me CD’s etc. So I heard it develop from a distance rather than in the physical environment of Croydon.

From a speculative point of view I can comment on how Croydon is viewed and what the people I knew in the scene were like in the early years? Croydon was always a bit of a cultural void, it was often viewed as a bit naff and you never had to look too far for a fight, same as it is now really! It always makes me laugh when I hear people making a “Dubstep pilgrimage” to Croydon! Bizarre. Then again maybe that’s it, perhaps that lack of anything of cultural substance combined with a few dynamic personalities was the catalyst of the musics development and ethos. I knew Mala, Coki, Loefah, and Poax and they always had a very interesting dynamic within their friendship. It’s weird when you know a group of people as mates that have been such huge factors in the development a whole new genre. So without going to deep I think we have to refer to the old adage “nature abhors a vacuum.”

H: Aside from your music, the artwork that you do for the Deep Medi releases has become iconic within the dubstep scene: where did the idea for these designs come from?

T: The idea for portraits of the producers was Mala’s, the style of the Medi heads is just my drawing style, that it really. It’s great that people mention them as “iconic” I feel very honoured to have been part of the deep Medi history and identity.

H: The label you run with Cyrus, Origin Audio, went quiet after the announcement of a forthcoming Commodo 12": does the upcoming charity release of your remix of Truth's 'Puppets' mean you intend to keep the label going?

T: Yes Origin Audio will be continuing to release, but we are in no rush to churn out release after release. We are happy to wait and release music that we believe in, the market is so saturated at the moment we think it’s important to put out the best music we can rather than a vast schedule of forgettable music. Origin Audio 003 will be getting mastered very soon, so hold tight for that.

TUNNIDGE 7Breaths by Tunnidge

H: Finally, are there any forthcomings or projects in the pipeline that you want to put the word out about?

T: Yes I have a forthcoming release on the Getdarker label , two tunes “Decay” and “Control” will make up GetDarker002. Also you can hear some of my tunes on the forthcoming “Dubstep Allstars 8” mixed by Distance. More releases on Chestplate and Deep Medi as well as some releases on less expected but equally big labels, so I’m very happy. There is also one very big project in the pipeworks which I am very excited about, can’t say anything at the moment, but I feel like it will change a lot of things in the dubstep world. Stand by. Also I will be hitting the states for the first time in September so im really looking forward to playing out there!

Download: Tunnidge - Exclusive HEDMUK Mix

Tunnidge - Exclusive HEDMUK Mix by Hedmuk on Mixcloud

Tracklist:

Tunnidge - Decay ( Forthcoming GetDarker)

Distance - Mind Control (Dub)

District & Sleeper - Haymaker ( Forthcoming Chestplate)

Tunnidge - Control (Forthcoming Getdarker)

J Kenzo - Ruffhouse (Dub)

Tunnidge - Ghost Dance (Origin Audio)

Distance - Knowing (Dub)

Truth - Puppets (Tunnidge Remix) (Origin Audio)

Cyrus- Hot Pan (Dub)

Tunnidge - Aftershock (Dub)

Tunnidge 7Breaths (Distance Remix) (Dub)

Truth - Puppets Mix

As part of the 'Puppets Special Edition' CD, released in New Zealand to aid the efforts to raise funds for the Christchurch quake relief efforts, Truth put together this mix containing beats from their popular debut LP as well as subsequent remixes such as Tunnidge's 'Puppets' remix (recently released on Origin Audio). Enjoi:

Truth - Puppets Mix by Truth

Tracklist:

Puppets
Puppets (Tunnidge Remix)
Legion (Optimus Gryme Remix)
Juno
Burglar
Burglar (Crushington Remix)
Terror Planet VIP
The Know (with Bulletproof)
Don't Explain (Riskotheque & Marchmellow Remix)
Don't Explain [Tease]
Wicked Vibe Broccoli (Dutty Ranks Remix)
Lab Rat
Indigo Mood
Dead Silence
Masters of the Stars
Invaded! (Bulletproof Remix)
Invaded!
More Dangerous
The Fatman
Under Current (with Ben Verse)

Featuring: District

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....

H: Where do you draw your influences from?

D: Loads of things. Music wise, quite a lot of drum and bass, techno, jungle, all that autonomic stuff, metal, hardcore, I'd definitely say that now I’m not in a band I’ve tried to sneak little hints of that in my tunes. I've always been fascinated with movie concepts and things like that, it’s probably a cliché to say this as an electronic artist but Vangelis' soundtrack to Blade Runner is what made me want to get involved with synths and stuff. A lot of 80's horror and sci fi movies, even some of the worst movies of that decade seem to have more character than anything that’s come out in the last ten years or so. I’m probably being a bit more dismissive here. anything to do with Stephen King, Clive Barker, John Carpenter anything that Tom Savini has played a part in, anything to do with those guys are full of atmosphere and creativity. They didn't have computers to rely on.

H: When did you start making beats?

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.

3.5 grams by district

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...

Download: District - Hedmuk Exclusive Mix

Tracklist:

Sleeper & District - Dungeon Style (Dub)
Myrkur & TMSV - Icarus (Dub)
Cyrus - Underworld (RTP)
Sleeper - The 2nd Step (Dub)
District - Gutter (Dub)
Distance - Jungle Fears (Chestplate)
J:Kenzo - Nocturnal Feelings (Forthcoming Tuba)
Sleeper & District - Angry Birds (Dub)
District - Haymaker (Dub)
Lurka - Forgotten Ones (Dub)
District - 3.5 Grams (Dub)
Tunnidge - Control (Dub)
District - Notes (Dub)

District - Hedmuk Exclusive Mix by Hedmuk on Mixcloud

Cyrus - GetDarker Mix CD: Vol. 1

An undoubted heavyweight of the scene, Cyrus today released his exclusive mix for GetDarker as a free download. Featuring tracks and dubplates from names such as Distance, Tunnidge and Pinch this mix is a sub-driven journey which should be snapped up by any discerning listener.

Download: Cyrus - GetDarker Mix CD: Vol. 1

Tracklist:

Cyrus & Distance - Emperor's Fury
Distance - Ill Kontent
Cyrus - Underworld
Icicle - Xylophobia
Cyrus - Visions
Joker D - You
Killa & Instinct - H20
Benga - The Chant
Mala - Eyez
Tunnidge - 7 Breaths
Distance - Drawn
Tes La Rok - Virus
Skream - Amitystep
LD - Blizzard
Pinch - Boxer
Kromestar - Deamon Rocker
Distance & Tunnidge - Blame
Cyrus & Tunnidge - Lights
Cyrus - Decesions
Commodo - Eastern Bloc
Lost - Clouds (Teaser)

.Preacha.

Tunnidge - Cool'eh Mag Podcast 011

The latest podcast for Cool'eh Mag sees Tunnidge take a slightly different approach to laying down a studio mix, as he instead uses it to explore his influences from the late '80s/early '90s rave and jungle scenes. The significance of such music to some of the biggest names in Bass Music, from Mala to Kode9, is no secret and Tunnidge shows in this mix that he is no exception. With a tracklist full of classics that speak for themselves, this mix comes highly recommended.

Download: Tunnidge - Cool'eh Mag Podcast 011

Tracklist:

Altern8 - Passion Devotion
808 State - Pacific 202
A Guy Called Gerald - Voodoo Ray
Rhythm Is Rhythm - Nude Photo
Liquid - Sweet Harmony
Manix - Feel Real Good
Bizzare Inc - Playing With Knives
Jonny L - Hurt You So
Urban Shakedown - Some Justice
Criminal Minds - Baptised By Dub
Krome & Time - This Sound Is For The Underground
Omni Trio - Renegade Snares
Bodysnatchers - Just For You London
Conquering Lion - Code Red

Featuring: Killa & Instinct

With 'Haterz' featuring on Get Darker's recent This Is Dubstep Vol.3 compilation, many will be aware of Killa & Instinct. The production duo's brand of fierce, brooding beats have won them the support of some of the scene's biggest names, with perhaps the most significant being that of Cyrus and Tunnidge who recently added the pair to their Origin Audio imprint. Both Killa & Instinct have put together an exclusive mix for us showcasing their sound and that off producers making tunes in a vein similar to theirs, as well as taking the time to answer a few of our questions. This one's big: enjoy.

Hedmuk: Just as an introduction, what names do you both write under, when did you start to make beats and how would you describe your sound?

Killa & Instinct: We both write under the Killa & Instinct name but we do make some solo projects where we go under our individual names. We both played around with beats when we where younger but started taking making music seriously in 2008. We would describe our sound as deep, dark & minimal.

H: In past interviews you’ve mentioned the influence of people from Guernsey in shaping your musical direction. Who has influenced both of you in taking up music production and who continues to shape and affect the beats you make?

K&I: No one in particular spurred us on to start producing music. We both were DJ's for a long time before we started producing but it was more of a natural progression to make our own beats. Some life experiences in Guernsey had shaped a few of our tunes. For instance Haterz(which featured on Get Darker's This is Dubstep: Vol.3 compilation) was definitely shaped by our mood at the time.

H: Did being, for want of a better word, isolated from London affect your response to Dubstep? Was it harder to find and listen to? If so, did it enhance it's appeal?

K&I: It was hard for us to go to nights unless we hosted them ourselves or flew to London for the weekend and go to places like FWD. It wasn't hard keeping up to date with the music as we both found ourselfs listening to pirate shows on Rinse FM, React FM and downloading sets from Barefiles. We were also strongly influenced by a friend up in Leeds who used to send Killa mix CD's.

H: You set up Guernsey’s first Dubstep and Bass Music night in 2007. Having had Youngsta andChefal play out on the island, is it safe to assume it’s been successful?

K&I: The nights where really successful it gave Dubstep a strong base on the island but due to closures of clubs we had to take up a smaller residency where bringing artists over was no longer ideal. We still maintained a good vibe at the smaller scale nights with local DJ's. This was a shaping factor in our move to Bristol, there is such a good scene with many nights to get involved in.

H: Production duos have found success in Dubstep, perhaps most notably with DMZ. How does working as a pair affect your production? Is it advantageous?

K&I: Yeah it definitely helped us, especially coming from a small island with no one to show you how to use our software. We both push each other to get the best possible sound out of our tracks, bouncing ideas of each other. Two heads are better than one.

H: How did your involvement with Origin Audio come about?

K&I: We both started sending our tracks to Cyrus simply asking him his views on them. He asked us to keep sending our tunes to him. This made us knuckle down more on making beats. When we sent him H2O he told us he was starting a new Label with Tunnidge to promote the deeper side of Dubstep which wasn't being represented very well at the time.

H: Your dark, sub-driven beats fit perfectly to the labels plans. On a personal level, what does it mean for you to work with such established and respected scene veterans?

K&I: We bear influence from all over the Dubstep spectrum but we were already big fans of Cyrus with his early album "From The Shadows" and Tunnidge's track Geddeon. So we are thrilled to be working under their wing.

H: What can we expect from you in the future? Any releases forthcoming or big projects in the pipe-line?

K&I: H20 is forthcoming on Origin Audio. Haterz was recently released on This is Dubstep volume 3 and we have a remix forthcoming on a EP for NE Records. We are currently working on a collaboration with Lurka who is making next level stuff at the moment.

H: To finish on a different note, it’s clear from your podcast series that music aside from Dubstep has been important. Who do you listen to outside of the 140 bpm spectrum?

K&I: We both listen to a wide range of music anything with a vibe or some sort of soul to it. Whether it be D&B House, Trip Hop, Ambient, 90's Hip Hop or even Metal. We are both open minded.

Killa & Instinct - HEDMUK Exclusive Mix by Hedmuk on Mixcloud

Tracklist:

H20 - Killa & Instinct (Forthcoming Origin Audio)

Icarus - TMSV & Myrkur (Dub)

Decisions - Cyrus (Forthcoming Deep Medi)

Indica - Killa & Instinct (Dub)

Forseen - Freeze & LX One (Forthcoming Osiris)

Eastern Bloc - Commodo (Forthcoming Origin Audio)

Future Blindness -Subreachers (Lurka Remix)

Haterz - Killa & Instinct (This Is Dubstep Vol.3)

Burning Fire - Tunnidge (Dub)

Blue Notes - Mala (DMZ)

You - LX One (Forthcoming Wheel & Deal)

Tempted - Lurka (Dub)