Following up from the huge Civil War EP on Aquatic Lab, and to bring in the new year with a menacing intent, Core has dropped a personal favourite of his as a free download: 'How It Is' is skunk smoke hanging from the ceiling with a perfectly-rounded rolling bassline skulking between stripped-out drums. Reminiscent of label-mate Cluekid's early sound, there's a tasteful nostalgia here but one that is being directed firmly forward.
To download the track, simply hit the link below to be taken to Core's Facebook Page.
A tune that received heavy rotation on Youngsta's Rinse show last year, Benton's reworking of Goli & Ashburner's taught half-step gives focus to the eery atmospherics of the original, hanging them over walking drums and a swelling bassline.
With an album due for release this year on Wheel & Deal and an appearance at tomorrow night's FWD>> alongside label boss N-Type, 2012 is already looking like a good year for Benton.
Having put their formative imprint, For The Win, on hiatus for the past few months, Goli & Ashburner return with their latest project in the form of DEM Recordings. Backed by both Manchester-based agency Faze 2 and us here at Hedmuk, DEM is aimed at bridging the seemingly small, yet apparently huge, gap between grime and dubstep. Since taking on their own individual growth-spurts from the UK garage scene, the two have often been set in opposition with each other despite many of their obvious structural similarities. There have been attempts to draw the two together in the past, but with a somewhat inconsistent rate of success which has arguably and, at least in part, been down to the lack of a label aiming simply to bind the two together for a positive result: the hugely competitive market created by digital releases has meant that many labels are left trying to establish themselves as consistent houses for dubstep or grime, alongside a minority who are still willing to push the envelope to varying degrees of success.
Thus DEM taps into an area that has perhaps been wrongly disregarded by labels in the past, not wanting to appear inconsistent in their brand development. With the simple goal, in their own words, of looking 'to bring a bit of bassweight to grime and experiment with how the two genres can work together', the duos approach is suitable to the task at hand; not wanting to try and define or mark something out before it has been created, the label presents an intriguing prospect and one which the many fans of both dubstep and grime have no doubt been waiting for. Dedication to the cross-pollination of the genres is the key here, and is something that DEM seeks to provide from the off.
To celebrate the launch of DEM, we are collaborating with Faze 2 and Goli & Ashburner to release the first in a series of free Zip files and mixes exclusively through Hedmuk. Featured in the Zip is a free EP featuring tunes from the duo alongside the likes of Merky ACE and MIK aswell as an exclusive thirty-minute showcase mix among other things.
Core - 3rd Chamber (dub) Lurka - The Forgotten Ones (dub) Killawatt - Rolling Dunes (dub) J:Kenzo & Mosaic - Alone In The Darkness (New State Music) Biome - Swirls (M.U.D) Matt U - Voids (Black Box) Benny Page - Take You Back (Subway) Silkie - Sela Nova (Deep Medi) Sunship (feat. Warrior Queen) - Almighty Father (Badness) Subreachers - Machine (dub) J:Kenzo - Engage (dub) Mz Bratt - Selecta (label) Quantize - Alkaline (Forthcoming MIMM) Ashburner - Creeper Refix (dub) Royal T - RIP Hot Ones (Free) Taz - Arterial Girl (dub) Goli & Ashburner - Do It ft. M.I.K. (forthcoming DEM)
Linking up for the label's first release with one of the most exciting talents in the grime scene at the moment, Goli & Ashburner and Elementz' remixes of MIK of Family Tree's grime anthem 'Do It' is to join the first free Zip file as a serious statement of intent. Keep an eye out for the official release date, announced soon.
There is, of recent, a renewed momentum within the Dubstep scene; more specifically, a new wave of producers, pushing the dark, brooding, sub-heavy sound that many would associate with the likes of Kryptic Minds, Cyrus, or Distance have come to the fore. This should not be mistaken for simple imitation, producers such as TMSV, Lurka, Killa & Instinct, J: Kenzo, Pressa, Thelem, Benton, Myrkur and Sleeper, are all making tunes of startling originality and quality. District's production, dank and bass-driven, fits comfortably with this crowd of beat makers gaining increased exposure. Following sustained support from the likes of Distance and more recently Youngsta, we caught up with District to discuss his influences, future projects and to get his take on the state of the scene. In addition, District has laid down a heavy mix, packed full of dubs, as part of our mix series. Enjoi:
HEDMUK: To introduce yourself to those who don't know you yet: what's your name, where are you from and how would you describe the beats you make?
District: Hi, my names Dan. I'm from Coventry, England and I produce beats under the alias 'District'. I'd describe the sound I aim for as dark and bass heavy.
H: Are you from a musical background or was it something you picked up yourself?
D: I've played guitar since I was about 9 years old, from the age of about 18 - 23 I was playing in bands, death metal, hardcore punk, that kind of stuff. Rad times....
D: I went to college about 5 years ago to learn how to record bands and stuff, I met sleeper on the same course and he showed some drum and bass he was making at the time on the same software we were using to record. I've been mucking around for a few years but only really started taking it a bit more seriously a year ago when I stopped playing in bands. '3.5 grams' was the first tune I finished that I was happy with and could be classed as dubstep.
H: Tell us a bit more about you relationship with Sleeper. Do you see yourself as a production duo or do you prefer to define yourselves individually?
D: As mentioned in the other answer I've known him for a little while. When I started getting a bit more confident with the sounds I was making he was the first person I sent anything to. We've been collaborating on a few different things for the last year or so, different tempos etc. I think we both have strengths as individual producers; he's been producing a lot longer than me so when we combine we try to play on each others different strengths. Even on individual tracks we send each over the tunes for feedback etc.
Oh, and playing Trials HD while one of us works on individual parts of the tune. It might seem a bit backward playing the Xbox while collaborating but switching off for 20 minutes or so while one person works on the track helps us keep the track fresh in the ears. If we were both hovering over the pc all day both our ears would get knackered.
H: Youngsta has been playing a few of your beats recently. What does it mean for you to have someone as influential as Yunx listening to and playing out your tunes?
D: Yeah it's big. Both of us are big fans of Youngsta and the sound he pushes. The exposure has definitely helped us out a lot and continues to do so. I'd have to credit Distance as well though for playing the beats out first, he found us and introduced our tunes on to Youngsta as well as a lot of other people.
H: Has any increased exposure helped develop your production? Any tips from other producers/DJ’s ?
D: For sure, the last few months in particular I think have been fruitful. Distance, Tunnidge, Cyrus and Youngsta have given Sleeper and Myself pointers. Not just from a production aspect either. Hopefully that’s visible on some of the newer tracks that feature on the mix. The learning curve keeps production interesting for me as well as a challenge. There's a definite science to producing this kind of music, I don’t mind admitting I still have a lot to learn.
H: There is a new generation of producers gaining increased exposure within the Dubstep scene with the likes of Lurka, Killa and Instinct, TMSV, J: Kenzo, Benton, Sleeper and yourself all leaving lasting impressions of recent. Do you feel there is a renewed energy? What does it mean for you to be part of it?
D: It’s awesome. Every single producer mentioned there has a distinct sound and character to their beats, and that’s important. Without speaking directly for the others, there seems to be a slight push against some of the music that’s been put forward as dubstep over the last couple of years as its popularity has increased. I wouldn't want to discredit anybody else’s work or say it’s not dubstep. Right now it’s about being positive about the sounds everyone is pushing, and focusing on that. Its sick how many different people have started to creep out over the last 18 months or so with the same attitudes and enthusiasm for the darker sounds.
H: Tell us a bit about the mix you’ve put together for us.
D: Well, it’s just the sort of tunes I feel as a producer I want to represent, there's a lot of stuff from myself and Sleeper as well as a few other producers. It’s not too far from what I’d play out in a club environment. Hopefully people will enjoy it and can hear where I'm coming from.
H: Finally, any news, future projects or releases in the pipe-line?
D: I've got a few things on the go, I’m in the middle of finishing off the first few collaborations of mine with sleeper, a four way thing with myself, Sleeper and Killa and Instinct that I’m looking forward to as well as individual tunes. Release-wise, there are some things in the pipeline but that’s all I’ve got to say at the moment on that subject...
As mentioned in last month's feature with Goli & Ashburner, For The Win Records have put out a collection of 13 tunes from artists appearing on the label for free as a showcase of the diversity presented by the label aswell as of each producer's individual approach.
Through their back-to-back sets all over the country, diverse productions and tireless work in pushing new artists with their label For The Win Records, Goli & Ashburner have steadily and quietly established themselves as the dubstep dons of the Midlands. We caught up with Goli to chat about his influences, views on the potential for crossover between dubstep and grime and what we can expect in the future from the duo and their label. Goli has also laid down an exclusive mix, with the usual spread of deep, weighty bits and straight-up bangers. 2011 is looking to be an exciting year for Goli & Ashburner and FTW.
Hedmuk: To introduce yourself to those who don't know: what's your name, where are you from and how would you describe the sound of the tunes you make?
Goli: Hi I am Oliver Gibbons (Goli) from Nottingham, but at University in Leeds. I would describe our sound as a tough mixture of grime and bass weight aimed predominantly at the dance floor.
H: When did you start making beats, and have you always produced as a duo or is this something that was adopted further down the line?
G: I started building beats about 9 months ago because Mike (Ashburner) and I had been DJing as a pair since last August, so it made sense to produce collaboratively.
H: What were your earliest influences that might have pushed you in the direction of making music? And do these things remain influential to you now?
G: I was first influenced to make music when I first got into drum & bass, this was around 2003. I was listening to people like Amit, DJ Ink and Kryptic Minds, all the darker side of drum and bass, from there I got into DJing and played around on ejay loads, but instead of learning music production and pursuing the DJing I started playing in a death metal band until I was 18, which lead me onto dubstep. All the old drum & bass, hardcore and death metal I used to listen to is a big influence on what I do now: the drops in dubstep are so similar to breakdowns in hardcore music and the intensity in the raves are similar too.
H: What, would you say, are the most prominent advantages or disadvantages to producing as a duo?
G: To be honest from my experience if you find someone you work well with, then there aren’t any disadvantages, because you are both on the same level with every tune so it is second nature to know whether the other one is going to enjoy the ideas you bring to the table. The only disadvantage we have is that I am in Leeds and Mike is in London so we don’t have a full time studio space, other than that its bless.
H: One thing that has always stood out to us here is your willingness to use grime vocals in your tunes, Ashburner's 'Next Hype Refix' being the most obvious example and your more recent use of up-and-comer Merky ACE's vocal: how do you select the vocal to use and how do you approach using these vocals to add an extra layer to your beats?
G: To be honest Mike is the one who deals with all the vocal work. He definitely has an uncanny knack at being able to make vocals sit well on tunes. We like to see the vocal work ‘we’ do as our niche in some ways; not many dubstep producers bridge the gap between grime and dubstep, and we are very heavily influenced by grime so it made sense to use grime vocals in our tunes. The selection process isn’t really something we think about, we get sent a lot of vocals so we just use what we are feeling and either fit the vocals over an existing tune or create a new one. Merky ACE definitely caught our attention; he is a very talented MC coming up the ranks so we have been doing a couple of tracks with him which we are really happy with.
H: Further to that, what's your view on the potential crossover between grime and dubstep?
G: I personally think the crossover potential is huge, just look at Breakage's tune with Newham Generals 'Hard', it is a brilliant reworking of the original Breakage tune 'Together,’ and the vocals have made it an absolute anthem. To be honest I don’t think there is enough collaboration between the dubstep and grime world, a lot of the old grime producers are making UK funky instead of dubstep now, and the MCs are doing more and more tech house aiming for the charts or just working with the biggest artists in the scene. Thus making dubstep and grime collaborations few and far between.
H: You've been previewing a lot of new material lately and you don't appear to have been nailing yourselves to any one sound in particular: what can we expect from you production-wise in the near future?
G: As we are relatively new to the production world we have been playing around with where we want to take our sound and are really happy with what we have achieved so far. Through these experiments we have been making a lot deeper stuff, these tunes are going to be coming out under our new alias, so watch out for them. As for Goli & Ashburner it will be business as usual.
H: You also run one of the UK's best and most consistent new labels in the form of For The Win: what was it that made you want to start your own label?
G: Cheers for the props. We started the label because in Nottingham there were very few outlets for electronic music and we were hearing some really great stuff coming out of the city, so we decided to make a label and start releasing it.
H: How do you go about choosing which beats you want to release on the imprint, as the roster as it stands is a particularly diverse one?
G: We both take a very active role in searching for new music and if we hear something we instantly like we sign it. As we started without any prior knowledge of how to run a label we have made a few mistakes along the way, but now we are very proud of our roster and the beats we are promoting and releasing.
H: Do you find that your location in a city not necessarily strongly associated with dubstep has been a help or a hindrance to your work as both producer/DJs and label managers?
G: When we first started out, being situated in Nottingham was not perfect. Three years ago a lot of nights were bickering and it was very hard to get DJ bookings in the city if you didn’t know someone involved with the night. I mean we played our first five or six gigs outside of Nottingham before we actually got booked in Nottingham (laughs). Thanks to what we have achieved it has allowed us to represent Nottingham all over Europe and even the USA which we are really proud of. Label-wise it was good because we were one of the only dubstep labels not just in Nottingham, but in the whole of the Midlands so this allowed us a pretty free reign with signing beats off the local artists. Also now we have a night in the city and have become pretty established as part of the furniture in the Nottingham dubstep scene, it has made it a lot easier for us to comfortably grow the label and collaborate with different brands coming out of the city.
H: Do you consider most strongly as producers, DJs or label managers?
G: All three.
H: How do you balance these three commitments with each other: do certain aspects of your involvement in music occasionally have to take a back seat whilst you focus on another area, for instance?
G: It is a very difficult balancing act at times especially as I am in the third year of my degree, work part time and have a girlfriend, so from time to time things do get neglected; but I would say on the whole we both keep on top of things pretty well. To be honest I love what I do so I could never complain.
H: Finally, is there any news or projects in the pipeline that you want to put a word out about?
G: Got a few things: release-wise we have the ‘One’ EP 12” coming out on Loft Party Recordings very soon, also Kraken digital release of 'Gutter Riddem' / 'Badness'. FTW011, Magenta's Sphynx EP, is coming out early next year and will be available on Beatport, DJ Tunes, Junodownload etcetera. Then we have our own six track Goli & Ashburner EP coming out in a few months on For The Win, which is our first collaborative release on our own imprint. Then finally, we have started a new label which should be releasing some tunes off our alias soon. Also we are releasing a Free For The Win LP to say thank you for the support this year and that should be out in a week or so. And big up William, Subreachers, Benton, Killa & Instinct, Antics and all the For The Win crew.
The Nottingham duo weigh in with another quality remix, although this time of a tune that might be somewhat less obvious. Taking on Destiny's Child's 2004 ballad 'If I', the vocals are pitched-up and set over a drifting bassline and broken up by scattered snares and soft flutes and the finished result is a gorgeous display of Goli & Ashburner's abilities in the lighter side of production.
