Featuring: Soap Dodgers

With a third release on N-Type's Wheel & Deal now on the shelves and a 12" forthcoming on longstanding staple label Tempa, Soap Dodgers seem to have barely put a foot wrong in their stratospheric rise. Noted for their ultra-clean production, which belies the duo's origins in grime,  an energetic presence behind the decks and a tirelessly innovative approach which underpins both of these endeavours, the pair's own high standards have gained them the attention of the biggest DJs in not only dubstep but also, more recently, UK funky's 130 spectrum. Yet Soap Dodgers' career is, they assure us, still in its fledgling stages; and with such promising beginnings, we can only predict more and greater progression to come. To coincide with the release of the 'Unleashed EP', and their Tempa announcement, we had them on the phone for perhaps our most in-depth interview yet and to ask them to contribute the latest mix to our exclusive series.

Hedmuk: As an introduction, what are your names, where are you both from originally, and now, and how would you describe the music you make as Soap Dodgers?


Jamie: It’s Jamie and Max, and we’ve always lived in Hanwell in West London, so we’re still here now. And how would I describe the music that we make? Erm, I don’t know really. [to Max] How would you describe the music that we make? [to Hedmuk] Max just reckons it’s whatever we fancy making (laughs).

H: So you don’t feel that you’re constrained particularly by genre/style at all?

J: No, not really: there’s no strict theme, or plan, or guidelines.

H: And when you sit down to make a tune do you tend to be in the studio together, or do you work on ideas independently and then come together and finish them?

J: Well sometimes we’ll sit down together and start something together from scratch; but it’s Max who’s got the studio stuff over at his house, so a lot of the time what will tend to happen is he’ll throw a load of ideas into a project and then maybe in that one project there’ll be, like, three things that we can go from and make full tunes from. And then when I come round, me and him will sit together and take those ideas in the project apart bit by bit and then ‘rebuild’ them into something.

H: Yeah, so it’s a case of both of you coming with ideas that aren’t yet fully formed into what you would call ‘a tune’, so the final result is only achieved by your working together on it?

J: Yeah, the ideas never really are, like, ready; so he’ll put his ideas down and, instead of just telling them to me, he’ll obviously just put them into the program and then say, you know, ‘this is what I think of this this and this’. Then I can come to it and put my ideas in, and we’ll sit there together and just bounce off each other. It always, at the end of the day, comes down to sitting together and finishing the tune off.

H: So when you sit down to make a tune it’s more a case of working with the idea that you have at hand, rather than sitting down and thinking ‘here, let’s make something for the headphones, or something for the dancefloor or whatever’

J: It’s more to do with how we’re feeling, so I might be like ‘I like this part that you’ve got here, so let’s work on that and make it more like this’; and it just depends on how we feel really. We bounce a lot off each other, so I think the tunes would be completely different if we worked alone.



H: And other than working together as Soap Dodgers, do either of you do anything individually? As you say, it would sound very different if you worked individually, so do you do other things that you feel don’t fit for how you work as a duo?

J: Well, the way I met Max was through music, because me and him used to make grime. [to Max] When did we make grime? What year was that? Year 9? [to H] So yeah, in 2005, we were making grime individually and then started making grime together and then that’s how the whole Soap Dodgers thing’s come together now. Although we both stopped making music for ages actually, and we’ve only being doing Soap Dodgers for about, well, coming up to two years now. So individually I think we’re both capable, and if we wanted to we could easily do our own projects; but right now there’s not really anything I’m looking to do, [to Max] are you? [to H] No, neither of us are looking to do stuff individually, but I think we’re both capable of doing it so, maybe in the future…

H: You say you took a break from making music and it is only in the last couple of years that you’ve been building a name for yourselves and gaining success as Soap Dodgers; so were you surprised by how quickly everything took off, or was it more a case of, because you’d been making music before and it wasn’t something so new to you, you weren’t so surprised at being able to establish yourselves quite quickly, as it were?

J: I don’t know, when we were making grime it was always for fun and we’ve only ever wanted to make music just for a laugh, to keep ourselves entertained; and then when we stopped making music we just stopped altogether - I don’t know why, I think it was because we left school and, I don’t know, the whole music thing just sort of didn’t really appeal to us anymore.

H: Yeah, grime went a bit downhill…

J: (Laughs) Yeah, there was a lot of stuff coming through and we just weren’t really feeling it. I think we both got jobs as well, so we just stopped making music. It was a couple of years after that when I heard dubstep music for the first time - I think it was Benga, ‘Crunked Up’ - and I was like, ‘fuck, this stuff’s proper sick’. So I showed it to Max, and then I just started buying vinyls for no reason, I still don’t know why I started doing it, but for some reason I started buying records; Max had turntables at his house so we just started playing them and then thought, we should try and get a DJ set somewhere. And when we started getting a couple sets, the next thing was that we thought we should start making our own music. We made ‘Machines’, and where it all started really, we just made our first tune and then went from there.



H: So Soap Dodgers was originally a DJing project before you started making tunes?

J: We never really intended on, you know, making a load of music; we sort of just wanted to DJ out because it was cool, and you got free alcohol and shit (laughs). We just thought, ‘this is sick, we’ll get a couple drinks and it’s something to do on the weekend’. And then we thought, you know what, we might as well make some tunes. We both knew how to use Fruity Loops, but actually when we started making dubstep we never used Fruity Loops, we would just take the knowledge that we had of how to make tunes and then we sat down and just learnt Logic, and then, yeah man…

H: And then, very quickly, you were linking up with people like N-Type at Wheel & Deal and getting support from the big name DJs, and it all started to come a lot quicker; how did it all come about, you know, moving from ‘I want to DJ so I can get into a club for free and get free drinks’ to actually making tunes for some of the biggest DJs within dubstep?

J: It sort of just feels like…it happened, I don’t know, it was a bit weird to be honest; we started making tunes and then, I can’t remember, I think it was our first agent introduced us to certain people, like N-Type for instance.

H: Do you feel that being in London, although dubstep now isn’t as London-centric as it was previously, helped in that it was easier to actually meet these bigger players, as it were?

J: Yeah I guess so, but I wouldn’t really put it down to just that. Obviously it helped with me and Max driving around trying to get our tunes to people, but we still got off our arses and, you know, made CDs and went around and I think that sort of stuff pays off - and living in London obviously helps, because you’ve got that more direct link with people even when you’re, you know, ‘no one’. I think, it’s hard to say because obviously people have got their own situations; there was times like it was, ‘I’m either going to eat my dinner, or I’ve got to go and buy CDs to make sure I can get this tune to someone’. So everyone’s got their shit, everyone’s got their own problems and stuff, but I think that anyone can go and meet these people and show them their music first-hand rather than just sending links over the internet. I think that definitely helped us, anyway.

H: Yeah, I think you’re probably right there; in terms of being personable, networking, to call it that, is still the same thing as it was before you could do it online. But actually handing someone a CD: they’re much more likely to listen to it than if you’ve just sent them a link to Soundcloud.

J: Yeah, definitely.



H: You’ve developed a close working relationship with Wheel & Deal as a result, with your third release, the ‘Unleashed EP’, which came out on the 30th of July. What was the thought process behind that EP? Did you feel that you could push the boundaries a bit more with this release, since you’re now more established and having had two successful releases on the imprint already?

J: Yeah I think it helps, and because we’ve had our first two releases already people know from the difference in those releases that we do like to make different stuff, and I think the ‘Unleashed EP’ shows that as well. I just think that obviously the more we do with Wheel & Deal, the more weird and different it’s going to get because right now it’s sort of just a showreel of what we can make and what we like to make; and I think that as we work with the label, we’re going to start making a lot more different stuff because I think N-Type trusts us to make what we enjoy making too. I think he knows that when we’re just left to our own business, the music’s going to come out a lot better.

H: Would you say as well that the forthcoming release on Tempa, which is a huge achievement for you guys, is almost the flipside to that, in that you’re showcasing a more specific aspect of your sound?

J: Yeah it’s a lot more picky, so obviously says a lot and it’s nice to have been asked to do a Tempa release: that’s a good look for us.



H: How did that one come about, the link-up with Tempa? 

J: That was Youngsta. We basically wanted to get a tune to Youngsta – we had 'Water Landing' and we wanted to show it Youngsta – and asked some people online, for his AIM and stuff, and the they were like, ‘don’t bother sending Youngsta anything because he’s not going to play it’. Which was like (laughs), ‘alright, but I’m still going to ask him anyway’. But that’s basically the reaction we got when we were saying to other people that we want to send stuff to Youngsta: ‘don’t bother’ sort of thing ‘he won’t play it’, you know, ‘we’ve been sending him tunes for years and he don’t play no one’s stuff’.

So, we sent him ‘Water Landing’ and straight away he said not to give it to anyone else because he wanted it exclusive . Then we made - [to Max] Max, what did we make after Water Landing? - [to Hedmuk] then we made ‘Unbalanced’ and he started supporting that, and he’s got his whole exclusive thing so we let him have the tunes exclusive for a long time and we built up the relationship like that: by letting him have full control over the tunes and not giving them to any other DJs, and from building that trust with Youngsta and allowing him to have the tunes exclusive, he put us forward to Tempa. We sent a load of tunes to Tempa and they picked, well…they picked none of them (laughs): they didn’t want any of them because they were all too similar. And then there was a long situation with that so we released those tunes on Wheel & Deal instead. And then – when we thought, Tempa don’t want our tunes – they came back and they picked up ‘Ill Minded’. So we were like, ‘fuck, alright then, they want Ill Minded’; then they asked us to write the B side, and we wrote ‘Contact’ in about a week and that was it, that’s just how it happened. It was all through Youngsta really.

H: And all of this was happening only a year or so after starting out as Soap Dodgers…

J: Yeah, I mean, all that happened a little bit too fast for us to sort of even understand what the fuck was going on. Basically, the same thing happened with Wheel & Deal: we wanted to release a single with Wheel & Deal and we ended up getting brought in to sign a contract to write an album for them; after the first tunes we even sent to them.

H: So is that still on the way then, an album on Wheel & Deal?

J: Yeah, we are doing an album but we haven’t started yet (laughs). We haven’t started yet, we’re just trying to get ourselves sorted and just focus on the singles and making sure they really represent what’s going to be coming.

H: And, with that in mind perhaps, have you been working at all at different tempos from your usual 140 bracket?

J: Well, yeah, I’ve noticed that that’s becoming quite popular now; and actually the reason Max ever had vinyl turntables at his house was that he was heavily brought up on house music: I think there’s always been an element of that in our music. But yeah, we’ve done two 130 tunes; one of them no-one’s heard, but the other one is ‘Lady Lips’ that we made for Roska.



H: And that one’s been getting some decent airplay from him on Rinse, has it not?

J: Oh yeah, no, he’s been battering it every show. It was sort of an experiment tune to see what our sound would sound like at 130.

H: You must feel almost pretty lucky that you branch into 130 and you’ve already got Roska, who again is one of the big names in that field, giving regular airplay your tune.

J: Well I think, in mine and Max’s opinion, we’ve always wanted what’s best for the music because, at the end of the day, we make the music because we like making it and if we enjoy it and want to give it to someone then we want it to be someone who’s running shit in the scene, do you know what I mean? That’s why we give stuff to N-Type, Youngsta and Roska.

H: Do you think that it’s important - particularly with the recent boom in electronic music that has saturated the scene in many ways - that if you want to back something, that you back it properly? And if you’re happy with something, to really push it to people who you think are really going to do something with it? 

J: That’s just it, yeah; and it’s no disrespect to any other DJs if we don’t give it to them first. To us, Roska was the person that we thought of – because he actually supported 'Rachel Went South' and 'Belly', our second release on Wheel & Deal: he asked for a 130 edit of the tracks, so we made them for him. And then we thought, right, let’s make him a track. So, yeah, when we were really happy with it, Roska was the obvious choice of who to send it to really.

H: And do you feel it’s important to make sure that whatever style or tempo it’s at, that it’s recognisably Soap Dodgers’ music?

J: Yeah, and I think even if you hear it for the first time and you have no idea who made it, when you realise who has made it you can sort of sit back and be like, ‘oh yeah’.



H: So would you say that you’re at a point now that your sound and your style has developed and matured into something that you can quite comfortably recognise as your own, as Soap Dodgers, and happily put your name to it?

J: I mean, yeah I suppose in a way, yeah, but at the same time we’re always trying new stuff and don’t really want to keep ourselves to a strict sound. I think as long as once you know the track is made by us, and then you can recognise it afterwards, that’s fine; but we’re always making new stuff so I don’t know how we’d class what our sound is exactly.

H: I suppose it’s difficult when you’re making such a variety…

J: Yeah, it is: when you’re stretching across so many different styles to keep yourself entertained, it’s hard to pin it down. And when there’s so many plugins in the world, you’re always finding new things and finding new stuff that you enjoy; and I think that’s the most important thing: if you like it yourself. So even if it sounds completely different, and it doesn’t sound anything like you, the important thing is that you like it. And right now, we’re only very early into our career and we just want to show what we can do, really. And we’ve got really short attention spans as well (laughs).

H: (Laughs) Yeah, I think I can relate to that one. Can you tell us a bit about the mix that you’ve put together for us?

J: Well the mix is just pretty much everything we’ve spoken about: we’ve tried to get everything in there that we enjoy playing and maybe give people an idea of what we play when we’re out. Although that’s quite hard because, again, it sort of depends on what we want to play when we’re out.

H: So, to finish up, can you give us a quick rundown of your forthcoming releases, and anything or anyone else you want to put the word out on?

J: I don’t really know, like, I don’t really like doing shout-outs because I always forget people (laughs). But yeah, anyone who helps us, they know who they are, so that’s alright; and, yeah, I don’t think there’s anything else really that we can say or want to say right now as those things aren’t really important at the minute, they’re not really materialising at the minute so yeah, in terms of releases the most current thing really that we can talk about is the Tempa one, which should be out in August.

H: Have you got a confirmed date for that yet, or?

J: Nah, (laughs) it’s hard to get a date out of them guys. But it’ll be on 12” and digital and the pre-orders are up already, I think.

H: Yeah, I’ve seen them up on Red Eye.

J: It can’t be too long then, it’s gotta be soon.

H: Although Red Eye can sometimes be a bit hasty with these things (laughs).

J: (Laughs) Yeah. The other one, though, is the ‘Unleashed EP’ on Wheel & Deal which has just come out, and that’s a double vinyl with full artwork sleeve and the digital is coming out too. Also, if you buy the full release from the Wheel & Deal Surus store then you get the bonus track, which is ‘Unbalanced’, too. But other than that: shouts to Justin Bieber and Jagermeister, safe.


Download: Soap Dodgers - Hedmuk Exclusive Mix


Tracklist:


French Fries - Hugz (feat. Bambounou) [ClekClekBoom]
Killawatt - Capa VIP [Dub]
Soap Dodgers - Unleashed [Wheel & Deal]
Icicle - Need A Job [Shogun Audio]
Soap Dodgers - Ill Minded [Forthcoming Tempa]
LX One - On My Own [Forthcoming Wheel & Deal]
Soap Dodgers - No. 6 (Benton Remix) [Dub]
Seven - Invasion [Black Box]
Soap Dodgers - Infinite [Dub]
Dismantle - Witch [Digital Soundboy]
Jammer - Big Man (Lost & Hatcha Remix) [Dub]
The Others - Bad Taste [Forthcoming Dub Police]

Soap Dodgers - HEDMUK Exclusive Mix by Hedmuk on Mixcloud

.Preacha.

Featuring: Seven

One of the most consistent DJ/Producers in dubstep today, Seven emerged from success in the drum & bass scene to quickly establish himself at the 140bpm spectrum with his tight, inimitably heavy productions, ranging from eyes-down rollers to dancefloor bangers, and his largely-unrivalled skills behind the decks which have seen him booked across the continents. Already boasting an impressive back catalogue, releasing on well respected labels including Tempa, Wheel & Deal, Subway and Aquatic Lab, he is set this year to release his debut LP on Black Box records; we caught up with him to talk about this latest project aswell as his long-running career in music production and DJing and got him to lay down the latest mix in our exclusive series.

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

Seven: Hi, I'm Seven, I come from London, UK and I make various forms of dubstep, covering a whole spectrum of styles accumulating to what people refer to as my signature sound.

H: Would you say that you're from a musical background, or is it something that you've picked up yourself?

S: As a kid I was totally in love with music. I had a very musical upbringing, but i never took to playing an instrument: I was more seduced by turntables and mixing. I guess that stemmed from being my dad's son, he had a huge record collection and loved keeping up with hi-fi technology, which it turn intrigued me too. He was into soul, Motown, jazz and everything else from there and in-between; so he was my first huge influence and he completely supported my interests and when I was nine he got some turntables, and so began my journey into mixing.

My sister also played a huge influence in the kind of music that I became attracted to and was enjoying mixing at home. She would often buy me records she'd heard in clubs and at raves she went to. So I had a good tune scout showing me what was working in the clubs and I was also loving what I was hearing on pirate radio stations that she showed me all about. It was all a good introduction to underground dance music culture from an early age.

The production side of things came later. It was largely due to the influence of my new friends who were producing music and deejaying in clubs: they showed me that there were other avenues to what I was already doing. So, at around the age of 14, almost 15, I made a 3 track EP under the alias DJ Reflex. I hired the studio time and the engineer to push the buttons for me and produce my ideas. The EP got signed, released and sold a modest amount of units, it was a great starting point and a huge achievement for me too. I was totally intrigued by the whole experience and was convinced I could make a future for myself [in music] by dedicating my life to it. So I started to save up money for studio equipment. It took me years to get a full outboard studio set up, there was no software studio process back then, unless you had a huge, expensive Pro Tools setup. It took a lot of trial and error too, because I didn't go to music production school to learn how to do things I just kind of found my own way. Feels like so long ago now; for almost a decade I have been consistently releasing music to the public and all on vinyl too, which I am very proud of. And the journey continues...



H: On top of your productions, you're well known as one of the tightest DJs in dubstep: is this something you consider to be important? Do you think of yourself primarily as a producer or a DJ, or a balance of both?

S: I guess I consider myself a DJ before a producer: it came first and the production followed. But saying that, I couldn't do one and not the other, so I have a good balance of both. There is a time and place for each of them and when you get them to work in unison, things flow and work well.

I think tight mixing and good DJ skills are essential: there are a lot of people out there playing sets that are not DJs, they are just producers playing CDs aided by technology. If you took CDJs out of clubs and everyone had to use vinyl, a lot of them wouldn't be able to keep the music in time or mix properly.

H: What was it that made you decided to switch your focus from making drum & bass to dubstep? Do you still make tunes at 170bpm, or is it something you've largely left behind now?

S: DJ Youngsta is a close friend, he constantly asked me to make a track for him to play out. Knowing I was quite an established producer I guess he could tell I would come up with something pretty good, so kept at me until I made a track for him. It was at this point I realised how D&B had become very formulaic for me: I was know for a certain style and was pigeon-holed into it. It was more of a production line than a pleasure. But I soon found dubstep to be inspiring and fun, I was enjoying the creative freedom it gave me and the ways I could express myself without worrying about sticking to boundaries and rules. I then started making more dubstep than D&B until eventually i was too busy with my dubstep productions to keep up with any D&B happenings. So, I changed my alias and decided on the name Seven: my lucky number.



H: Last year's 'Dubstep Dubplates' compilation presented an interesting combination of your work as both a producer and selector, how did the idea come about and are there plans for more releases of this type?

S: The idea was born from a company called Live Beyond, they asked me to compile a CD of tracks made by both up-and-coming and already-established producers. It represented a spectrum of music I felt would be received well by dubstep fans and new listeners alike. The project also focused on breaking new artists into the scene and helping them to establish their careers. It brought people like Lurka and Crushington into the public eye and also made possible the release of much sought after tracks by Benny Page.

There is talk of a second volume, but that's about as much as I know right now. I'll keep you guys updated though.

H:You've got an album forthcoming on Blackbox this year; how did you go about selecting tunes for the release and what can people expect from the album? Did you see an album project as an opportunity to depart from the sort of beats you would usually make, by incorporating vocals or aiming to build tunes not directly aimed at a big rig and a dancefloor for instance?

S: I made a lot of tunes for the album. I had like this natural selection process going on the whole time I was making them though, I had to literally stop my self making tunes in the end because the album was never going to be finished if I didn't. I just kept producing more and more tunes that I wanted to include on there and faced dilemmas about what I was going to take off to accommodate the new tracks which would replace them. All that said though, I am very happy with the chosen tracklist.

People can expect each tune to be individual, but with my signature stamped all over them. I haven't tried to steer away from what I am known for, instead I just pushed myself even harder to make better music. I have tried to accommodate everyone's tastes though, be it deep and minimal or dancefloor smashers. It's a definitive collection of my music and I feel I put my heart and soul into every track. My single releases vary so much from track to track it was a task to try and incorporate all of what I think people are expecting from it into just 12 or maybe 13 tracks. I have included some vocals tracks on there too. Vocals by Alys B on both tracks compliment the album perfectly.

I tried to make the album accessible to all: something DJs can play and also something people can listen to on their iPods. If you sit back with your headphones on and shut your eyes, each track has the potential to then take you on a musical journey in the mind.

H: Can you tell us a bit about the thought process behind the mix you've put together for us?

S: I have done a few podcasts and webcam studio mixes recently and mainly played a lot of deeper stuff. So, in this mix I wanted to show some more of the jump up dubstep that I like to play too. At points this mix is quite upbeat, as well as deep and dark: I showcase some of the harder edged and techy tracks from my album too and a lot of tracks by other artists who I think are on fire right now. I hope everyone enjoys it.

H: Finally, have you got any forthcoming releases or anything else in the pipeline that you want to put the word out on?

S: Well, I just did a mix CD for a big clothing label (can't reveal the name) that is to be announced soon and given out with all of their online orders: that's been such a huge opportunity for me right now. It showcases nothing but Black Box tunes, both released and brand new unreleased tracks by artists on the label including myself.

In response to forthcoming releases, I have nothing else planned apart from the album right now. It's been the main focus for the last 18 months; I do have some really solid tracks left over that I might sign if I can or maybe even give away for free. Needless to say, you guys will know all about that if I do.


Download: Seven - Hedmuk Exclusive Mix

Seven - HEDMUK Exclusive Mix by Hedmuk on Mixcloud

Tracklist:

Dub Phizix & Skeptical - Marka (feat. Strategy) [Exit]
Digital - Deadline (DJ Madd Rave-Alarm Refix) [Dub]

Benny Page & Zero G - Raggamuffin (feat. Tenor Fly) [High Culture]

Crushington - Chug [Dub]
Seven - Wait VIP [Forthcoming Black Box]
Seven - Stormz Over Marz [Forthcoming Black Box]
Seven - Siren VIP [Tempa]
Kutz - The Volt [Dub]
Skream - Darkin It [Free]
Seven - Bounce To This [Forthcoming Black Box]
>>>Skream - Filth [Tempa]
J:Kenzo - Engage [Dub]
Seven - Twilight Horizons [Forthcoming Black Box]
J:Kenzo - The Roteks VIP [Dub]
DJ Madd & TMSV - Difference (J:Kenzo Remix) [Black Box]
Soap Dodgers - Ill Minded [Dub]
LX One - Losing Control [Dub]
Biome - Raven [Dub]
DJ Madd - The Real And The Shadow [Forthcoming Black Box]
Skream - The Shinein [Deep Medi Musik]


.Preacha.

Free Download: SP:MC - Cool Runnings

Drum & bass MC-turned-producer, SP:MC has been a firm favourite for many fans of deeper half-step sounds since his debut dubstep release of 'Trust Nobody' and 'Future' (alongside Joker D, the man now known as LX One) on Tempa. Over the years SP has had a string of releases, each one as anticipated as the next with a strong emphasis on quality over quantity.

To coincide with his most recent release on Tempa, the huge 'Hunted' / 'Oh My Gosh' 12", he's given away an unreleased beat made back in 2008. Featuring his characteristic super-tight percussion and warped basslines, this one is a straight cop.


Download: SP:MC - Cool Runnings [wav]


Download: SP:MC - Cool Runnings [320kbps mp3]


.Preacha.

GetDarkerTV 047 - The History Of Dubstep

GetDarker TV is nearly always worth a watch, but this week's show was definitely among the more notable of the 47 episodes which have aired since the project began back in March of last year as Distance, Cyrus and, the man behind GetDarker, Darkside joined to play a four hour back-to-back set moving from the old school dark garage sounds of the very late nineties right up to the drop of 'Midnight Request Line'.

Featuring some of the very earliest releases from influential labels such as Tempa, DMZ and Big Apple Records (aswell as a neat selection of exclusive white labels and the odd Transition 10") and the sort of exemplary mixing that has come to be expected of the three men behind the decks, the show is definitely worth a listen.

Download (320kbps):

GetDarkerTV 047 - Part 1

GetDarkerTV 047 - Part 2

GetDarkerTV 047 - Part 3

GetDarkerTV 047 - Part 4

The tracklisting and video stream of the show is also available here.

GetDarkerTV is on every Tuesday from 7-11 at http://live.getdarker.com.

.Fukhed.

Benga - Phaze One

It has been a while since Benga's last sizeable release (his last probably being the Diary Of An Afro Warrior long player, way back in 2008), and the anticipation behind this one has been enormous. Having showcased so many new tunes through live sets and on official mix CDs (most notably on Rinse: 09 and Dubstep Allstars 7) but releasing so few of them caused worries among many that the tracks would never see a release. The announcement of Benga's plans, however, to release a series of EPs (similar to Skream's 'Skreamizm' collection) has put rest to much of the worry. Phaze One is released today with a heavy tracklist in tow, with the huge 'No Bra, No Panties', 'Mini Moto Cross', 'Rock Music' (aka 'Dramatic') and 'Baltimore Clap' making it an absolute must for the bag.

Buy: Vinyl Release (6 Tracks)
Buy: Download Release (8 Tracks)


.Fukhed.

TEMPACD015

This month has seen the long-awaited release of the seventh installment in Tempa's highly influencial 'Dubstep Allstars' mix series, and the slightly tepid reception enjoyed by the Appleblim mix preceding it immediately sets a tune-selection challenge for the latest hands at the mixing desk. Chef (CD1) and Ramadanman (CD2) are those tasked with building the sort of tracklist that dubstep fans have used as a reference point for the best tunesmiths around since the series' beginnings in 2003, and their task is not an easy one. It might be argued that Appleblim's mix for Volume 6 was a fitting reflection of the way in which the genre was being pushed forward, but that it fell to largely deaf ears as the 2007 release of 'Fabriclive.37' convinced newcomers to the sound that it was all about, and always would be about, wobbling basslines and Guy Ritchie movie samples. That said, it would perhaps also be fair to say that the extremity of the shift from N-Type's more classic dubstep stylings on Volume 5 to the blissed-out, ambient sounds of Volume 6 was too much; even that the progressive school of electro-dubs being represented by Appleblim's mix had not yet proven itself as truly warranting its own dedicated release. Regardless, Appleblim's mix (not unlike Kode9's Volume 3 mix) certainly pushed the boundaries of what people thought of this awakening genre's potential and set an interesting prospect for fans awaiting Volume 7: would the series become a dedicated outlet for progressive, ambient dubstep? Would 7 bring another prediction of where dubstep was going next? Or would a safe card be played, wheeling out a mix populated by familiar faces? In fact, what has resulted is more ambitious than each of these things as the two CDs present something of a combination of all of these things. Of course there are familiar names (Skream manages to retain his status as the only producer to have featured on every mix in the series), but they do not serve to drown out the sounds of the younger names coming in behind them. Although not dedicated to the ambient sound, Volume 7 certainly serves to give a picture of how that particular scene has expanded: this is evident from Ramadanman's ability to include almost ten more tracks on his mix than Appleblim and, furthermore, to avoid holding each track in the mix for too long. This installment is also, arguably, making a prediction as to where dubstep can move to from here. While Volume 6 nailed a single set of colours very firmly to the proverbial mast, this edition picks and chooses from the stronger aspects of the genre and represents each one: ambient, junglist, dirty, deep. To call where the genre will actually go is nigh-on impossible as its outward acceleration appears to be continually increasing, yet, on the basis of Tempa's previous record alone, it could be done worse than to place trust in the ideas presented by this latest release.



Chef's mix for the first CD is very much in tune with his accomplished style of live mixing, cutting and splicing tunes with a practised ease. Although this perhaps might not be suited to the deeper, down-tempo tunes which open the mix, his technique certainly contributes to a noticeable build-up of energy as the set progresses. Tune selection is extremely varied in terms of the different styles of dubstep being played, yet it remains almost immaculate with barely a single dud track to be found. As has become commonplace with the Allstars series, exclusive tracks are littered throughout; notable tracks include the hard-hitting, hip-hop influenced 'Think Ur Greazy' from El-B; Benga's electro-tinged 'Man On A Mission' ; and the aquatic trip of Silkie's '51 Times Stronger'. Obviously there is included a selection of the current crop of scene-dominating rave tunes ('The Future'; 'Seeeerious' etcetera), but, thanks to Chef's mixing style, they remain fresh.

The second CD stands in firm contrast with that preceding it: an ambient intro leading into the echoic-bongo-led 'Beacon' (Untold & D. Franklin) is an early indication of where this mix will lead. However, these ambient tones need not be foreboding to the listener dissapointed by Appleblim's mix as Ramadanman appears keen to show that the ambient-progressive sound need not be purely 'headphone music'. His mixing style is one from which extends a careful building of energy as each track brought in adds a new textural layer; so sounds are constantly being built upon each other, giving the effect of a gradual, but noticeable, quickening of the pace. This CD is certainly one which must be heard as a complete mix, however noteworthy tracks here include a classic rolling-bass piece from RSD by the name of 'Over It'; the scattered beats of Compound One's 'Space Odyssey'; and the panpipe-sampling sounds of Footsie's 'Pissed'.

So, perhaps not the genre re-defining opus that some expected, but 'Dubstep Allstars: Volume 7' is certainly a worthy addition to the series.

.Fukhed.

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