The Black Sea is a curious place. Bordered by Europe and Asia, it is somewhat isolated, but still nourished by seas and rivers that touch distant lands and times past. Its unique geography causes the water to form two separate layers; the top is full of movement and life, while beneath lies a basin devoid of oxygen, where nothing but the most basic organisms can survive.
On the coast of the Black Sea, in a Russian town called Gelendzhik, lives Kercha — a rising producer, whose new ‘Broken Illusions’ EP reflects all the mysterious complexities of the depths just beyond his doorstep.
Like the sea’s rich surface, each of the EP’s tracks draw from sources separated by vast distances and generational gaps.
Opener ‘Eagle’ looks to the Middle East, its methodical plod accentuated by eerie, sun-baked flutterings — ancient instruments meeting a distinctly digital dubstep pulse. ‘Frozen’ matches oily, oscillating mids with half-heard flashes of jungle; throwing yet another curveball via the thick pops of distinctly electro kicks and snares.
‘Broken Illusions’ itself harks back to turn-of-the-millenium UKG, intricately skipping percussion meeting urgent snatches of clarinet and suspicious sax straight from the neon-lit, rain-slashed streets of some classic noir flick. Underpinning each track is an obsidian low-end — abyssal subs that, like the hidden expanse at the bottom of the Black Sea, threaten to suffocate all life with their oppressive bass-weight.
These three stone-cold cuts not only showcase Kercha’s irrefutable raw talent, but also mark the first outing from DNO Records, the new label from the brains behind Brighton dubstep institution The Mine. A home for international talents who refuse to be confined by genre or tempo, DNO promises to be a home for rhythms of postmodern realism, and a force to be reckoned with on the dancefloor.
Kercha’s ‘Broken Illusions’ EP arrives on 12” vinyl and digital in the end of February 2020.
Though citizens the world over are trapped inside under lockdown measures, freshly minted Brighton label, DNO Records, continues traversing the globe to highlight rising talents from the international bass community.
Release number two — the ‘Kiswahili’ EP — comes from CITY1, himself something of a wandering spirit. He hails from the Okinawa islands in Japan’s tropical southern tip, a place of teeming coral reefs and long golden sands, where inhabitants are known for living long lives. Having moved to the bustling capital of Tokyo, CITY1 has since joined Goth-Trad’s Back To Chill crew.
The sound of the ‘Kiswahili’ EP is the sound of CITY1’s two worlds combined — the Pacific island’s mystical soul binding with the digital roar of the hyper-modern metropolis. A-side ‘Sifa’ draws on the polyrhythmic interplay between ramshackle percussive constructions and a gruff, oscillating low-end, built to push sound systems to their limit. Over on the B-side, beat work takes a step back, allowing thunderous atmospherics to take the fore. ‘Funza’ is a sparse futurescape, where blacksmith-hammer strikes puncture the swell of murderous subs, as swarms of acidic bleeps fire off like overactive synapses. On ‘Vitu’, flabby drum skins reverberate beneath the dominating undulation of bass and mournful Middle Eastern wails — a ritualistic death march for the dawn of a new decade. Last but not least comes the digital bonus track, ‘Cheka’. Though the most traditional dubstep offering here in terms of arrangement, CITY1 infuses the track with a coarse, Doppler effect dynamism to ensure it remains a cut above your average dancefloor weapon.
Another essential release from a label determined to make its mark, CITY1’s ‘Kiswahili’ EP arrives on 12” vinyl and digital on the 19th of June 2020.
Rhythms of postmodern realism at the very bottom of the DNO
