Pop down Shamansbury's, pick up a double pack of Gregorian Chanting. Add water, stir in some Acid and a side of Wonk. Microwave for 2mins. Bingo. Arms aloft fun for the whole family.
a. Unknown Artist - Georgian Monastic Chant (Pill Mix)
b. Unknown Artist - Georgian Monastic Chant (Psychedelic Mix)
To close out the last of The Space Between Remix Series,we turn over four more prime cuts to some of the freshest producers in the scene. First up, we take one of the most memorable jams from the album, dubwise roller “Backfoot Dub”featuring long time BoS family member the Emcee Child.We turn remix duties over to one of the masters of jungle riddims the mighty Bladerunner.Wasting no time at all, the tune drops into thick amen beats before introducing the ska-tinged horns of the original. From there we go straight into a monster Reese bassline that’s setting floors alight.
Up next, Jaybee & Dave Owentake the delicate “Cartier”and turn it into a rugged liquid roller. Soulful vocals play against the cut up guitar hook of the original as it slinks and slides its way over a tech-fueled bassline.
For our third remix track, we go into the moody “Don’t Hold Back”. For this cut, one of the most promising producers in the North American scene, Flacotakes things deep with a complex blend of pads over crisp claps and rolling beats. One for the sunrise vibes, he keeps the lush vocals of Dylan Germickstrong throughout the track.
To close out the EP, we turn our heads to Bristol as The Insiderstake the tune “Control”into darker territory. Crisp hats ride along the intro as the track builds before dropping into an old school rugged bassline stepper reminiscent of the jungle roots of their hometown.
April sees Bristol bass don Facta drop his first release on Bloc with a storming double A-side, backed up with a remix from PAN and Berceuse Heroique affiliate Beneath.
Facta is one of the most exciting artists to come out of Bristol in the past few years, with a string of high impact releases on seminal UK imprints Idle Hands, Tempa, Wisdom Teeth and Soundman Chronicles. And this latest 12 is no different.
The EP kicks off with Alsatian, a deep technical bass workout that merges the UK template of airtight drum programming and the deepest of deep sub bass with a bump and roll that feels like classic electro… Watch out for the second drop, the subs are absolutely lethal.
Beneath closes the A-side with a stripped back take on Alsatian that reduces the original down to its bare essentials of shimmering drums and rumbling sub bass. A seriously deep remix that is strictly for the bass heads.
On the flip, Scotch Mist is cut from the same cloth as Alsatian, with expertly deployed junglist drum edits and some tasteful sample choices elevating the track into something really special. This has been on dubplate for nearly two years and we’re really proud to finally be putting it out.
Looking back to the Beatnik Era on the South Coast of England.
Before package holidays and the rush to Benidorm, Beatniks ruled the seafronts and B&B’s of the Southern Beach Resorts. Beat Poets and Musicians pedalled alternative viewpoints & delivered fresh melodies to these waterfronts of escapism.
Marking another step forward in his sonic evolution, Appleblim inaugurates Beatnik Boulevard with a record that channels his roots in brooding bassweight club music into startling modern compositions. From his groundbreaking work on Skull Disco to various mutations of house, techno and electro explored via solo and collaborative releases for R&S, Aus Music and Tempa , this 12” finds the Berlin-based producer wielding fresh approaches to synthesis in a daring framework that finds physicality in music away from obvious rhythmic tropes.
A-side track “Conch Shell Motives” rides on undulating waves of atmospherics as icy textures and warm pads merge atop fragmented kick drum thuds and heavy-dread sub stabs. It’s an eerie situation, but not devoid of warmth in its threads of melodic delay ripples.
“Holistic Rider” is a meditative workout that sports the hallmarks of early UK electronica in its laconic broken beats. Amorphous synth shapes bend and contort around this understated percussion, the evocative metallic overtones of the sound design injecting a sense of alien intrigue into the mellow surroundings.
By way of contrast, “Glass Eye” feels far more immediate with its delicate chiming refrain and swooning chords, but still the sense of futuristic intrigue propels the track into exciting new pastures both for Appleblim and this promising new label.
DJ Support
Pearson Sound, Peverlist, Hodge, Wen, Slackk, Benjamin Damage, dOP, Zinc, DJ Octopus, Koast, Hannah Holland, Chris Coco, Otik, James Fox, Lee Jones, Danny Tenaglia, Komon, Photonz, Etch, Doc Scott, Bwana, Rob Da Bank, Heartthrob, Borai, October, Ivan Smagghe, Fink, Charles Webster, Piezo + more
Conceived at a poignant intersection of Killawatt's existence, the Fazed EP evokes an introverted and pedantic nature, tailored for the individual over the collective. Produced during a period of self-reflection and change, the EP signifies a positive gear selection in the mind-set and approach to sound design and music as a whole. A period of sustained momentum and the challenging of previous attitudes resulted in Killawatt consciously isolating himself from specific negativity in and around him, Through forced positivity, elimination of destructive environments and a more embracing approach to introversion, inner thoughts and sentiments are brought to the fore and expose a rarely seen fragility unaffected by external influence. Remixes provided by Bristol based, Peng Sound boss Ossia and Berlin Atonal favorites Sergie Rezza (DJ Deep & Roman Poncet).
Rua Sound is proud to present the Echosystem EP from Lynch Kingsley
The Italian producer continues to carve out a space that is entirely his own. Over four tracks, Lynch lays out an array of rhythms and styles that don't square well with gentrification. In proper Rua style, there's plenty in there for the dnb, jungle, dub and footwork heads to get on with.
Kirkham's newest album comes in the form of a project under a new identity; Mikarma.
The album is a cathartic project for the accomplished electronic musician. A catharsis of emotion coupled with a restriction in studio equipment that leads to new creative means and avenues. Speaking on the reasons of the self-imposed minimal studio set up he states "Sometimes when you have too much equipment wired up it can be overwhelming and you end up just playing around for the most part."
It become apparent that there was a need for the producer to get the best out of his parameters, a process he was already familiar with "When we started back in the 90's we had a minimal setup... and because of that you would get the most you could out of each bit of kit."
Kirkham goes on to elaborate on the cathartic nature of the album "Breaking up in a relationship with the woman you love is a really draining emotional experience, I'm a person who finds it hard to outwardly express my emotions, I hold it in which is pretty unhealthy but i think writing music releases some of the pressure built up. The sad thing is my best work is normally when I'm at my lowest."
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