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

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

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

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

W.

Free Download: D-Operation Drop - Dust

Despite the title, there's nothing dusty about this track: something brand new and as yet unheard from the crew from Cesena in Italy, dropped here as a free download after their rapid climb to the 2,000 follower mark on Soundcloud. Since first meeting in 2010 and realising a shared passion for music, D-Operation Drop have worked steadily at channelling this interest and, after turning to production and DJing, have this year seen their hard work paying off. Over the course of this year, they've caught the attention of some of the scene's biggest DJs, including Distance, Icicle, J:Kenzo and N-Type.

'Dust' manages a sense of restrained aggression - with taught mid-range interspersed with hard kicks and played off against cinematic pads - reminiscent of Distance's Chestplate imprint, and shows the Italians at their best: making music that sits as comfortably in late night bus journey headphones as it does on a dancefloor.


Download: D-Operation Drop - Dust [WAV]
Download: D-Operation Drop - Dust [320kbps mp3]



W.

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.

Review: Sleeper - Dawn Of The Replicants / Zodiac / Shelter [CHST023]

Sleeper's third plate of the year, and his second solo outing, is another solid release and reminder of the sort of talent and attention to detail required to make an impression within today's 140 bracket.

'Dawn Of The Replicants', with its Jehst-referencing title, suggests a UK sound and delivers just that: the spidery synth line of the intro has the mark of label head Distance all over it; but a copycat tune this is not, as a rising Reese riff bursts through and pulls with it a whole heap of bottom-end. And if Sleeper's sound could be defined by only two of its elements, it would be this immense sub-weight and his mastery of the Reese-led midrange. Plenty of producers have made attempts at emulating him in this but it is on tracks like 'Dawn Of The Replicants' that Sleeper shows - just as Jehst's breakthrough left a host of MCs trailing on coat tails - he is so often already a league ahead of the next inventive technique.

As on 'Zodiac', in which the entire mid-range seems to be in a struggle against the swung kicks and doppled hi-hats: the bassline pulling backwards against the percussion, which presses forward. And yet the tune, with enough rhythmic variation and techy synths, is propelled on far beyond any another static attempt at introducing doubled-up kick drums and sporadic snares. The digital bonus, 'Shelter', is an altogether more creepy affair which hangs the listener up to witness their own undoing; with an unsettling, almost ceremonial, bongo riff and reverbed clangs draped around an eery vocal sample.

Sleeper - Dawn Of The Replicants


Sleeper - Zodiac


Sleeper - Shelter



CHST023 will be released on Monday 19th November and is now available for pre-order from the Chestplate Surus store in both vinyl and digital formats.



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.

Featuring: Razor Rekta

Razor Rekta is a man whose solid credentials, tight skills behind the decks and, more recently, expertly-crafted productions have gained him widespread recognition. From his roots in jungle and drum & bass, to dark garage, pirate radio, the legendary Anti Social Entertainment crew and, more recently, his addition to Distance's renowned Chestplate family, it is possible to trace a decade-long career in music that has, at its base, a finely-tuned ear for quality. Like so many producers who have taken to making beats after first honing their DJing talents, Rekta's tunes are built with the turntable in mind: rhythms, melodies and soundscapes which exist for the sake of a groove. We tracked him down to get his thoughts on all of this, and he's also contributed the latest mix in our exclusive series.


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

Razor Rekta: Hi, my name's Razor Rekta, or Rekta as some know me; not really sure how I would describe my sound but I'd like to think I try to go for more than just elaborate soundscapes over beats and bass. The one thing I do try and focus on throughout is the groove as I feel ultimately 'dance' music should be kept as just that.

H: Would you describe yourself as being from a musical background, or is it something that you've picked up yourself? When did you start to produce and what was it that made you want to start making beats?

RR: I don't really come from a music background to be honest, haven't played the piano since the age of twelve or anything (laughs) - I think it was just a natural progression between the early stages of collecting vinyl/DJing and working in record shops, playing on radio, playing out etc. There wasn't a defining moment where I felt that I wanted to start making beats, it just happened as most of my mates were at it and the music and radio was just something we all had in common.

I started producing around the age of about 18/19 but was more of a closet producer then, if I may say so. I started taking it more seriously over the last four or five years...

H: In progressing from garage, you seem to be transferring the all-important element of space from those original tight-stepping rhythms to your own productions: is this something you're particularly conscious of, or would you consider it to be more of a natural occurrence? How strongly, would you say, do you bear out your influences, musical or otherwise, in your own tunes?

RR: I think it's something which has been more of a natural occurrence than anything, hadn't really thought of it to be honest. I think it's just your own experiences, and where you have drawn influences from in the past: I was heavily influenced by jungle/drum 'n' bass when I was growing up, so subconsciously during the garage days my taste had already been geared towards that side anyway. 

By the time garage came about, my mindframe had changed loads so was drawn to stuff that was typically out of the box; at the time playing alot of Groove Chronicles, Ray Hurley etc., which technically was still garage but definitely with a rougher edge and which I feel was pushing the boundaries as far as the 2-step sound was concerned. For me, as time went by people like El-B, Oris Jay and Zed Bias were heading towards this 'new' sound, and then Search and Destroy and SLT Mob came through; it's probably their forward thinking which was standout for me, I guess, and something I still look for whether its playing live or trying to break new ground production-wise. 

H: You're perhaps best known for your work within the London-based Anti Social crew; can you tell us a bit about the origins of Anti-Social and how you've worked to push and spread what is now a well-recognised sound within the dubstep spectrum?

RR: The Anti Social movement came about just as a group of mates with similar interests really, I met Silkie and Quest around 2004 but never really sat down and planned anything as such, simply just set out to make and play good music, with garage music as a commonplace. At the time we all had different ideas and our own take on where we envisaged 'the sound' to go but collectively pushed forward, putting our individualised spin on things along the way - bringing us to where we are today. 

We didn't really have much of an outlet for 'dubstep' (or dark garage/FWD music as it was known), so for me there were just other things I felt were more important than producing at the time: pushing the camp and also getting this new sound out to a wider audience. Being from West London, I felt there was alot more work to be done; the foundation had already been set in Croydon, but we didn't really have that so it was just like trying to break our own genre where we lived - hence why we started our own radio station at the time, React FM.

H: Earlier this year you joined Distance's renowned Chestplate label: how did this come about, and what does it mean in terms of your involvement with Anti Social?

RR: Well I met Distance last year at Outlook and just asked if I could send over some material. I didn't actually know how people would react to it as it didn't fit any particular category: I had some minimal tracks, some eyes down stuff and some other growly numbers (that's the technical term), but I didn't set out to produce one type of sound so just took a risk by sending him loads of different things. He hit me up when we got back and we spoke about working on a release. I did have some interest from a few other labels but just felt that my music was more geared towards what he was releasing at the time. We also had similar mindframes in keeping the sound pure and it's very much a family-orientated label.

It doesn't really change anything as far as Anti Social is concerned: it's my home. But as far as my releases go, Chestplate is the only label which I feel my music is best suited to for now. 

H: Some might even remember you from your days spinning garage on Delight FM a decade ago; how does it feel to look back now and see how much has changed since the days of pirate radio to now, with the likes of Rinse being granted and FM license and EDM in general asserting a new dominance almost over the music media and industry? 

RR: Yeah I think a lot has changed, EDM as a whole is definitely being pushed to the forefront of the scene as more and more major labels/publishers are looking for fresh and innovative ideas in an already-saturated industry - a lot of UK acts are also being invested in which is positive also. I think generally, with the internet and independent TV organisations, there is definitely more scope for up-and-coming artists, whichever genre; and the argument of dubstep going mainstream is a balanced argument with both pros and cons.

Pirate radio has changed the game loads, I'm a bit of a purist so can't help but feel the pirate days are sorely missed. I think the web has definitely opened doors for old and new artists alike, as we can access anything at the click of a button, but nothing will beat the nostalgia of it all; and for me  it was a little bit more enjoyable than, say, checking someone's Mixcloud link….it sort of takes the edge off something which was originally underground.

H: Take us through how you went about putting together the mix you've done for us.

RR: The mix features a handful of my forthcoming sounds in addition to some of producers I'm currently feeling. It's really tough when doing a mix as there's so much good music out there, but I just tried to concentrate of what went hand-in-hand with my own sound.

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

RR: Yes, there's the 'Bang Ya Door' EP forthcoming on Chestplate in September 2012, the Anti Social Boat Party and the Chestplate takeover at Outlook Festival 2012, a Singapore and Japan tour in July 2012, US and North America dates in April 2013 and Australia and New Zealand in 2013, with exactly dates still to be announced. I'm on Twitter at twitter.com/razorrekta, and for any bookings just hit up Danny at Elastic Artists (danny@elasticartists.net).

Download: Razor Rekta - Hedmuk Exclusive Mix

Tracklist:

Genetix - Goin' In [Dub]
Razor Rekta - Kickstart [Dub]
Biome - The Prayer [Dub]
Razor Rekta - Aztec [Chestplate]
District - Painting The Mind [Forthcoming Chestplate]
Razor Rekta - Tugboat [Dub]
Author – Mothership (Killawatt & Ipman Remix) [Dub]
Razor Rekta - Piper [Dub]
Kromestar - First Kind [Dub]
Razor Rekta - Airborne [Dub]
LX One - You VIP [Dub]
Razor Rekta - Subconscious [Dub]
Distance & Cyrus - Titan [Dub]
Razor Rekta - Taurus [Dub]
Sleeper & District - The Risk [Dub]
Razor Rekta - Traffik [Chestplate]
Commodo - Axis [Dub]
Razor Rekta - Bang Ya Door [Forthcoming Chestplate]
Mala - Runway [Dub]
Razor Rekta - Metro [Dub]
J:Kenzo - Invaders [Tempa]
Razor Rekta - LokoMotiv [Chestplate]
Riskotheque & Aeolho - The Force [Dub]

Razor Rekta - HEDMUK Exclusive Mix by Hedmuk on Mixcloud

.Preacha.

Competition: Win tickets to see Hatcha, Benga, Youngsta, Distance, Chef, N-Type and more at Croydub @ Black Sheep Bar, Croydon

Croydon is now well known as 'the place where it all started'; whilst the likes of Plastic People and 3rd Base are acknowledged for their pivotal roles in the development of the early dubstep sound, Big Apple Records' place in the history of dubstep is now firmly established and this is largely due to the presence of a certain DJ Hatcha.

Croydub events, held at the Black Sheep Bar in Croydon, have always been about remembering the roots of the sound and each lineup is, and has been, a testament to that. For this new phase in the Croydub story, then, it seems fitting that Hatcha - whose influence on dubstep is largely unmatched - should take the helm in inviting a group of DJs and producers who have all helped shape the sound in their own individual ways, and many of whom were there when it all began.

To be in with a chance of winning two tickets to this event, simply send your answer to the following question to hedmuk@gmail.com with the subject 'Croydub Competition':

What was the very first release on the Big Apple Records label?

The competition will close on July 14th, a winner will be chosen at random by an independent third party and then notified by email and announced on the Hedmuk Facebook Page and Twitter.

For more information on the event, including how to find the venue and buy tickets, click here.

.Preacha.

Review: Cyrus - Nostalgia / Rupture [CHST019]

Distance's Chestplate imprint marks its fifth birthday this year and is doing so with the sort of enthusiasm that a five year old child might: 2012 has, thus far, been a groundbreaking year for the label as the full Chesplate cohort have not only descended upon the world-famous Fabric to host the third room but have also since been making a regular contribution to MistaJam's 'Daily Dose of Dubstep' segment on BBC Radio 1Xtra. And this of course has all been backed up by a steady and, especially for an independent label, plentiful supply of quality releases.

'Nostalgia' / 'Rupture' is the fourth release from the label this year, and Cyrus' second solo 12" to bear the CHST catalogue stamp. Opening with the tough kicks, instantly-recognisable snare, and reverberating vocal sample of 'Nostalgia', the controlled approach to space and sound design has Cyrus written all over it. As the bassline enters, the swing of the drums is wrapped into a swelling groove and accompanied by a drifting synth-line which aptly implies the couched warmth of the track's title. On the flip is 'Rupture', which justifies easily its AA-side status: moving along at a lurch, driven by intricate drum patterns and a visceral sub-bass melody, this is, as it were, the dancefloor's response to 'Nostalgia'. This release serves as a perfectly-weighted balance-point in what could be seen as a historic year for the Chestplate team.


Cyrus - Nostalgia


Cyrus - Rupture



Release date - 28/05/12

Available for pre-order from the Chestplate Surus store now.


.Preacha.

Free Download: District - Screamer / District - Untitled

Quickly becoming one of the most generous label collectives around, today sees one of Chestplate's recent recruits, District, give away two free tunes as a way of thanking the 2,000 fans who have amassed on his Facebook page.

This comes after last week's announcement that Chestplate, which is headed up by scene veteran Distance, has been added to the 'Daily Dose of Dubstep' segment on MistaJam's Radio 1Xtra show, with the first dose being offered by Razor Rekta, whose debut release for the label dropped just last Monday.


Download: District - Screamer / District - Untitled [WAV]


Download: District - Screamer [320kbps mp3]


Download: District - Untitled [320kbps mp3]


 .Preacha.

Free Download: Distance, Sleeper & District - Chestplate EP

Sleeper's multiple free downloads this year have been topped off by this Christmas giveaway, and celebration of reaching 2000 fans over on Facebook, from Distance's own Chestplate Records imprint. Featuring beats from the label boss himself as well as new signings Sleeper and District this EP, on top of the recent flurry of activity from the label including the announcement of their takeover of Fabric's third room in February, suggests that 2012 will be a busy year for the Chestplate crew.


Download: Distance, Sleeper & District - Chestplate EP


Tracklist:

1. Distance - New Outlook
2. Sleeper - GTFO
3. District - Gutter
4. Sleeper & District - LV426

.Preacha.

Free Download: Sleeper - Untitled

With a debut release on Distance's Chestplate label dropping very soon, Sleeper has given away another free tune. With the usual balance of weighty kicks, eery atmospherics and rolling mid-range this serves as an ideal lead in to the patiently-awaited release of Zombies / Scanners.


Download: Sleeper - Untitled



.Preacha.

Free Download: Perverse - Tepidus

Only a few months on the scene and already making big waves, the New Zealand duo go from strength to strength with each new production and are quickly gaining support from major DJs such as Youngsta, J:Kenzo and Distance. As part of what is becoming what appears to be quite a positive trend, Perverse are giving away this free tune after gaining 350 fans on their Facebook Page.

Displaying the big kicks and eery synths characteristic of the pair's consistent production, this atmospheric, swung stepper exemplifies the sort of tight beats that have shot Perverse into the limelight since the end of this summer just gone. Enjoi:


Download: Perverse - Tepidus



.Preacha.

Featuring: Killawatt

Since appearing on the scene only a matter of months ago, Killawatt has had a presence that has been hard to ignore: with tunes being snapped up for release by almost every well-respected label around, he is soon to be boasting a very impressive back catalogue. With an incredible work-rate and level of productivity he has been quick to carve his own niche, producing a unique take on the rolling, techy dubstep sound.

With DJ support from the likes of Youngsta, N-Type, Distance, Skream and Benga he is certainly one to be keeping an eye on. We caught up with Killawatt to ask him some questions and he's also recorded a mix to take the #25 spot in our ever-growing series.

Hedmuk: For those who don't know, what's your name, where do you come from and how would you describe your sound?

Killawatt: I'm Matt Watt, aka Killawatt, and I'm from somewhere near Norwich in Norfolk. I've just moved back here since being at Uni in Guildford.

I'd describe my sound as a combination of tribal percussion, rolling subs and dark and cinematic ambiences (most of the time anyway!).

H: When did you start producing beats, and have you always made music of this style?

K: I can't really remember when it was exactly that I started making beats properly. I suppose I'd messed about on Reason when I was in 6th form about 5 years ago, but I never really knew what I was doing or what I wanted to do. It wasn't until my 2nd year of Uni, about 2 years ago, that I started producing seriously. I'd made a fair few old-skool-sounding jungle tunes the year before that, when I was involved with Satta Sounds, but that was never particularly challenging because of the fairly simple aesthetic of jungle.

My old housemate, Jack aka Ipman, got me into dubstep and started making very dubby sounding tunes inspired mainly by people like Radikal Guru, King Tubby, RSD, Scientist etc.; but that style is very limited so I took the darker, techier sound and it's all escalated quite rapidly from there.

Killawatt & Ipman - Xibalba (forthcoming Boka) by Killawatt_SS

H: You've very quickly established a name for yourself and have tunes signed to some of the most respected labels around (such as Wheel & Deal, Box Clever, Boka and Subway): how did this come about?

K: Well it all started with N-Type's initial support of the first darker tunes I wrote. I just sat down and told myself I was going to write a 4-track demo to send to labels, all based around a similar theme. I sent it to N-Type, he really liked 3 of the tracks on there ('Capa', 'Selenium' and 'Shakuhachi') and that was that. That really gave me the confidence to get on with promoting myself a bit more and also to write more tunes and develop my own style. I think the main key to securing all these signings is the amount of tunes I write: I don't really have anything else to do so producing is pretty much all I do.

I'm incredibly grateful for all these labels wanting to put my music out. If you'd asked me a few months ago if I thought it would be like this I would have just laughed at you, it's quite overwhelming how quickly it's all happened!

H: How does it feel to have the likes of N-Type, Skream and Benga playing your tunes on radio?

K: It feels incredibly satisfying. Getting plays on Radio 1 was especially satisfying since it was a complete surprise to me. I think it was Murky who told me about it: I probably wouldn't have known otherwise. I've got to thank J:Kenzo, Youngsta, Distance, T_!, Bunzero and Crises for further radio support as well!

Killawatt - 71 (forthcoming Wheel & Deal) by Killawatt_SS

H: With such a fast rise into the limelight, do you feel under pressure to keep upping your game?

K: Yeah I do but not from anybody else, only myself. I'm constantly pushing myself to write more and more stuff, if I go a week without finishing anything I feel like I'm slipping behind but then I have to make myself stop writing so I don't just run out of ideas and inspiration and get frustrated. I think it's natural for people to want to up their game all the time though really, especially if it's something that you want to take seriously as a career. I want to be able to produce for other artists and do soundtrack work in a few years time like Photek and Amon Tobin have done, and to be able to do that you have to really push yourself to learn all the time about different aspects of music and production and I see dubstep as my initial starting point. I do have to tell myself to be patient with it a lot of the time because I want to be able to do that now, but I've only really been producing for a couple of years and those guys have probably been at it since before it was born!

H: How did you go about putting together the mix you've done for us?

K: I've been wanting to do a mix purely consisting of my own stuff for a while, but I've never had enough tunes that I was confident about playing out or including in mixes. Now I have enough tunes to do this. I also wanted to represent Ipman's tunes because I think he's a sick producer and needs some more airtime. There's our collabs in there and a couple of collabs I've done with Thelem also. I'm hoping it'll give people a good idea of what my sound is and show that I like to change things up a bit too.

Killawatt & Thelem - Joom (Youngsta Rip 120911) by Killawatt_SS

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

K: We've just finished collating my 2nd Wheel & Deal release, which I'm excited about! I also have finalised forthcoming releases on New Moon ('Reason To Worry', 'Swarf', 'Too Dark'), Loft Party Records ('Interplay' and 'Binary'), Box Clever ('Mantra' and 'Schitzophonia'), BLKBXXX ('Sidewinder' and 'Sidewinder (Ipman Remix)'), 'Xibalba' is the B-side to Ipman's Boka release, Subway Digital ('Critters' and 'Floating Weight'), 'Conflict' is due out on a Requiem Audio 12" with a DJ Madd and Matt-U tune and I should have another batch of 12" releases to announce in the next couple of months too so watch out for them.

Should also have a few collaborations with the likes of Biome, Matt-U and Phaeleh hitting the airwaves very soon, as well as a few remixes. Going to be remixing Radikal Guru for his album remix EP due out on Moonshine in January too which is quite a personal thing for me as he was the one that really hooked me into dubstep!

Big ups to everyone who's supported my music over the last few months, it would be hard to keep making it without that support!

Killawatt - HEDMUK Exclusive Mix by Hedmuk on Mixcloud

Download: Killawatt - Hedmuk Exclusive Mix


Tracklist:

Ipman - Raindance (forthcoming Wheel & Deal)
Killawatt & Ipman - Schizophonia (forthcoming Box Clever)
Killawatt - Mantra (forthcoming Box Clever)
Killawatt - Re-engaged (Dub)
Killawatt - Mystic Vocation (Dub)
Killawatt - Respiratory Fluctuations (Dub)
Killawatt - Interplay (forthcoming Loft Party Records)
Killawatt & Thelem - Joom (Dub)
Killawatt - Ether (Dub)
Killawatt - 71 (forthcoming Wheel & Deal)
Killawatt - Critters (forthcoming Subway Records)
Ipman - M.O.B Mentality (forthcoming Boka Records)
Killawatt & Thelem - Swarf (forthcoming New Moon Recordings)
Killawatt - Reason To Worry (forthcoming New Moon Recordings)
Killawatt - Viscous (Dub)
Killawatt - Rezomorph (Dub)
Ipman - Messenger (forthcoming Wheel & Deal)
Killawatt - TOPIO (Dub)
Killawatt - Binary (forthcoming Loft Party Records)
Killawatt - Conflict (forthcoming Requiem Audio Records)
Sleeper - GTFO (Killawatt Remix) (Dub)
Killawatt - Rolling Dunes (forthcoming Wheel & Deal)
Killawatt - Take A Step Back (Dub)
Ipman - Swarm (Dub)
Killawatt - Sidewinder (Ipman Remix) (forthcoming BLKBXXX)

.Preacha.

Distance - Deleted Scenes Mix

Distance - Deleted Scenes from 2005 by Distance on Mixcloud

Feeling nostalgic, Distance has today uploaded a classic mix recorded all the way back in 2005 which features cuts from the likes of Skream, Toasty, D1 as well as some of his own earliest material.


.Preacha.

Featuring: Shredexx

Feature No.23 comes from an increasingly popular producer whose tight production and menacing basslines have seen continued airplay on Rinse and sustained support from some of the biggest DJ's in the scene. Shredexx combines a multitude of influences taken from his time living in cities around the world - notably Berlin and London - to build beats of real originality and quality wrought with sinister synths and powerful drums. With his recent E.P recieving positive reviews and support from the likes of Distance we caught up with Shredexx to ask a few questions and get his contribution to our expanding mix series.

HEDMUK: As an introduction, what's your name, where do you come from and how would you describe your sound?

Shredexx: I'm Shredexx, I'm a 22 year old producer originally from Hamburg, Germany but have lived in London, Australia and Germany intermittently over the last few years. My sound is probably best described as dark electronic music. I like to draw influences from techno, dubstep, drum n' bass and electronica and i spread those influences over various projects I do - with Shredexx my footing is firmly in dubstep.

H: What is it about darker, deeper music that appeals to you? How did you get in to creating this kind of music?

I think as your music taste develops; you're constantly looking for things which excite you, and the deeper, darker side of this sound really hit a note with me while i was studying in London. It was something that probably could never have captivated me as much as it did if i wasn't there. I remember the first club night i went to when I got to London was FWD and I knew straight away that I'd walked in to something special. I went to school in Sydney, Australia, and the club scene there was so under developed and it largely still is. But London's was thriving when I got there and it was such a pleasure to get in to when I did. Its such a familiar tale amongst dubstep producers; but thats one of the things I like about it. There's these sorts of cornerstones that have become a language to so many… you know, FWD, DMZ etc.

Silence by shredexx

H: How do you go about building your beats? Do you have a set pattern of production?

S: Its always changing to be honest; so you go through periods of having certain methods, then after a few days, weeks or months you tend to switch it up a little bit. That way you constantly learn new things and keep your production moving forward and fresh. I can say that the way i used to make beats a few years back is completely different to the way I do it now.Generally speaking, you get a little idea in your head, whether its something you thought of, heard or just think would sound good and you start there. It could be a baseline, a sound or a drum beat; and what usually makes the cut is for further work is when its good. If thats the case, you keep going and build layer after layer until you've got something strong that you can visualise working in a club or a mix or something. I guess thats the thing about club music - it has to work on the dancefloor and a lot of the time; thats my goal.

H: How much of an influence is living in Berlin/Germany on your music? Do you pick up sounds and influences from the local scene?

S: Well Berlin is a special place. The main language there is techno, and thats something that really rubs off. I remember when i was 12 or 13 I thought techno was some kind of joke… repetitive beats, next to nothing happening, nothing memorable. But over time i realised I couldn't have been more wrong. Its a music that thrives on grooves and instantaneous feeling rather than what you might expect from 'dance' music (I hate that term). It can be big without being loud, and can be really rhythmic without too much going on. But location is an interesting thing, because it definitely dictates a large part of your thought processes as far as what you build goes. London was seminal for me as it started and helped me cultivate my interest in dubstep. When I moved back to Australia it allowed me to take a step back and focus on what I liked about the London sound and really develop a little bit more independently. Especially because there were big shifts over the last few years that i wasn't necessarily as excited about as what I first heard. Berlin will be another chapter that im really looking forward to reading in to more and more as time goes on.

H: You've been getting alot of love from Distance. How does it feel to be supported by one of the biggest names in Dubstep?

S: It's really really flattering. Distance was one of the guys whose tracks I heard and really felt wowed by, and I still do. His Rinse show has really become something special over the years. He's championed some really important people, in this sound and in many others. I think he was even the first person to play one of the tracks off James Blakes' first release. It's so important to get support, not just from the big names, but from everyone, because the life of making beats is pretty solitary these days. You don't need to go out spreading your music on records or cd's anymore so a lot of the personal connections have dissipated. You make the beats alone in your bedroom, so if you're not sending your music out to people, no one will ever hear it except maybe your close friends and neighbours.Having Distance play my tracks is a big confirmation, and on top of that things like that really fuel a desire to keep going and keep on building; because thats what its ultimately about: Building beats, enjoying that and then showering down a club with them.

H: With your recent E.P getting positive reviews, we wondered what your musical goal was. A release on Chestplate has got to be right up there?

S: I think something like that is still a long way off. But it would obviously be a dream come true for me, as Distance really is an influence and a tastemaker for me. But yeah, a release on Chestplate is definitely something I aspire to, their output has been so consistent over the years and it would be an absolute honour.As far as musical goals go, I rarely make a beat where I sit back and am completely happy with it. I have this conversation with a lot of people who produce these days. I think even a few years ago, when a lot of dubstep DJ's were still using vinyl and you had to get a plate cut to get your beat in their bags it was different, because no one is willing to shell out cash to get a half-done beat cut to dub. But now its flipped; CD's have really opened things up for producers, for better or worse.. because you kind of get lazy knowing someone can just burn this on to a CD and hit play. That's another one of my musical goals I guess, just to carry on making beats and making sure they continue to improve.

Action by shredexx

H: Tell us a bit about the mix you've put together for us.

S: I always find doing mixes quite difficult. Is it a matter of trying to show people your own new stuff? or should you be going in trying to just put together an hour of quality beats? I think its a mixture of the two, but certainly leaning towards the latter. So I guess the mix is a bit of a statement from me as to where I'm at and what I'm doing, and at the same time just some beats that im into at the moment. Theres a lot of stuff from producers im in contact with and feeling at the moment so i hope its the same for you!

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

S: At this stage Im really enjoying making beats. More than ever i guess, so I just want to keep on doing that! Theres a lot in the pipeline, but nothing set in stone just yet. At the moment whats most important to me is that I keep on developing in what I like doing. Making beats and more beats. But don't worry, I hopefully wont be quiet for long.

Download: Shredexx - Exclusive Hedmuk Mix

Shredexx - Exclusive HEDMUK Mix by Hedmuk on Mixcloud

Tracklist:

1. Kangding Ray - Anthem/Monster - Raster Noton
2. Icicle - 1, 2, Go - Shogun Audio
3. Biome - Flesh - Dub
4. Shredexx - Hardest - Subdepth
5. Subreachers - Tidals - Dub
6. Shredexx - Actions - Dub
7. UNKLE - Follow Me Down (Mr. Lager Remix) - Surrender All/Essential
8. Core - 3rd Chamber - Dub
9. Icicle - Galactic Step - Shogun Audio
10. Shredexx - Morbid - Dub
11. Killawatt & Thelem - Swarf - Dub (New Moon)
12. Benny Page - Take You Back - Subway
13. Shredexx - Tenfold - Dub
14. Pinch & Loefah - Broken - Tectonic
15. Antics - Rundown (TMSV remix) - Dub
16. Shredexx - Transporta - Dub
17. Thelem - Distilled - Dub
18. Rhythm & Sound - We Be Troddin - Rhythm & Sound
19. Subreachers - Dark Souls - Dub
20. Kryptic Minds - Myth - Black Box
21. Mala - Eyez - DMZ
22. Luke Envoy - M.U.G.E.N (Jakes Remix) - Wonderland
23. Distance - Beyond - Chestplate
24. Commix - Be True (Burial Remix) - Metalheadz
25. Kangding Ray - Odd Sympathy - Raster Noton
26. Rhythm & Sound - King In My Empire - Rhythm & Sound
27. Bardeya - Well Before Use - Dub