Manufacture, distribution and label management. Specialising in electronic music: dubstep, drum & bass, techno, grime, wonky, uk funky, bass music ... all forms of evolutionary electronic music. More →
LMDSW001
Nocturnal Sunshine (AKA Maya Jane Coles)
a) Can’t Hide The Way I Feel
b) Broke
Finally repressed due to high demand on Ltd 12″ Vinyl.
Resident Advisor review:
http://www.residentadvisor.net/review-view.aspx?id=8359
http://www.facebook.com/pages/Nocturnal-Sunshine/242962040417
http://www.lickmydeck.com/
Scuba is the production and DJ alias of Paul Rose, the curator of Hotflush Recordings, a label, which having released some of the most important tracks of the formative period of dubstep, has grown into a leading player in the wider world of electronic music. A celebrated and influential DJ, Scuba was voted #25 in Resident Advisor’s 2011 poll of the world’s Top 100 DJs and has also been nominated for several categories in DJ Magazine’s Best of British 2011 Awards.
Earlier this year Scuba released his ‘Adrenalin’ EP, picking up radio plays from Zane Lowe, Annie Mac, Rob Da Bank as well as Mistajam, illustrating how his sound has mutated into previously unexplored areas. Alongside ‘Adrenalin, Scuba also released his addition to K7!’s DJ Kicks series which has made notable appearances on several “Best of 2011″ lists.
On the 27th February, Scuba will release his third album through Hotflush. Entitled ‘Personality’ and featuring 11 brand new tracks, it takes in a wealth of genres across contemporary dance music, proving once again Scuba’s place at the cutting edge of the electronic music scene. Preceding his LP will be ‘The Hope’; pushing on from the tense atmospherics of previous Scuba material, the single fizzes with claustrophobic bass pressure and menacing narration. Backed by an exclusive non-album cut ‘Flash Addict’, ‘The Hope’ will proceed the album on the 6th February.
Paul Rose aka Scuba
Originally from London, Scuba relocated to Berlin in 2007, and released his debut album, ‘A Mutual Antipathy‘ in 2008. The stylistic synergy of the album cemented his position as one of the most forward-thinking producers to emerge from the London bass scene. In the same year, Scuba founded the massively successful SUB:STANCE night at the legendary Berlin club Berghain. SUB:STANCE has since launched in New York with a look to expanding further in 2012.
Scuba’s second album, ‘Triangulation’, was released on Hotflush in early 2010, joining the likes of Mount Kimbie, Sepalcure, Joy Orbison, Untold, Sigha and George Fitzgerald on its enviable roster. With ‘Personality’ due for imminent release and plans for a live show in the works, Paul Rose’s constantly developing world seems set to keep on turning in 2012.
Artist: Scuba
Title: Personality
Label: Hotflush Recordings
Release date: 27th February 2012
Format: CD / LP / Digital
CD Barcode: 5055317221681
CD Tracklist:
01. Ignition Key
02. Underbelly
03. The Hope
04. Dsy Chn
05. July
06. Action
07.Cognitive Dissonance
08. Gekko
09. NE1BUTU
10. Tulips
11. If U Want
Vinyl & Download format & tracklist TBC
http://www.hotflushrecordings.com/
http://soundcloud.com/hotflush
http://www.facebook.com/HotflushUK
“You have to be hungry as a musician. You have to experiment, you have to develop, you have to move forward, but you have to be hungry. That is how it is supposed to be. I won’t say that I haven’t been successful but I will say that I want to be better than this.” Goth-Trad to Big Up Magazine, 2008
And better he has become. New Epoch, Goth-Trad’s debut album for the DEEP MEDi Musik imprint due out in February 2012, is the result of over a decade of pushing forward from the man Kode9 calls “a one-man army mutating the UK hardcore continuum in Japan.” Takeaki Maruyama aka Goth-Trad is a spearhead among producers worldwide who have taken the sounds of the UK underground and mutated them into new forms – or, in this case, into New Epoch. However, for Maruyama-san it’s never been about trying to replicate the UK sound as he acknowledged in a 2008 interview, “Looking at good Dubstep producers, I don’t think they are trying to make Dubstep. They are already looking beyond this, and trying to make something new. They are thinking on another level. That’s the fun part!” And fun is something he knows all about.
Emerging from a vibrant underground Japanese electronic scene, Maruyama-san has developed into one of the most outstanding artists of his generation. His unique “fun” style involves freely playing samplers, keyboards and even self-made instruments – this approach brought him the nickname “the Sound Originator.” His sound comprises a broad palette of influences from Abstract Electronica to Noise, from Dub and Reggae to Jungle, from Rave and Grime to Punk, and almost every form of music somehow is absorbed into his black hole-like approach, emerging from a trans-warp conduit on the other side as something uniquely Goth- Trad. Maruyama-san has simply always been experimenting and developing his own sound palette. This truly unique, abstract approach has earned him a place at the forefront of dance music in Tokyo – quite a feat in of itself since Tokyo has one of the most complex and engaging scenes for electronic music in the world. With a strong back catalogue of albums and touring beneath his belt the buzz for his music has slowly spread further and further around the world, New Epoch is certain to bring the bass mutations of this Tokyoite even further.
Maruyama-san first started producing music in 1998 and by 2001, he was ready for a breakthrough. It came when he formed the band Rebel Familia with the much-respected Dub Reggae bass player Takeshi ‘Heavy’ Akimoto of Dry & Heavy, a legendary Japanese act. By 2003, he had released his first solo album Goth Trad 1, which led to his debut European tour the same year and an opening slot for respected indie rock act The Mars Volta the following year. Maruyama-san says of this period, “Before Dubstep I was making experimental beats or almost kind of ambient.” His second album The Inverted Perspective in 2005 shifted the focus to the live improvisational style that he continues to develop and refine to this day. Looking back, he describes the record as “almost a noise experiment.” This was swiftly followed by a third album Mad Ravers Dance Floor, which was his first move towards the kind of dance music he makes today. He recalled what inspired him at the moment in an interview with Knowledge magazine – “When I found Grime music I heard Morgue by Wiley. It’s very deep and like down-tempo Hip-Hop but has more bass. Maybe we could call that Dubstep but back then it was called Grime. The first image was ‘deep’. The music totally fit some vision in my head. I felt something from that music.”
Mad Ravers Dance Floor opened European ears to his sound even more – especially when the Grime-inspired single Back to Chill was picked up by UK label Skud beats, catching the attention of the expanding bass music scene in the UK. By the end of 2006 Goth-Trad also started own night in Japan named after the single and he embarked on his fourth European tour that provided a pivotal breakthrough moment in his career thanks to a timely meeting at the London club FWD>> with Dubstep pioneer Mala from Digital Mystikz.
Mala signed the single Cut End / Flags to his own DEEP MEDi Musik imprint and subsequently those cuts garnered noise from a strong core of supporters including artists like The Bug, Kode 9, Coki, Skream and Mary Ann Hobbs. A new era had started for Maruyama-san: after four European tours, three solo albums and countless other work he was embraced by the growing bass music scene as a force to be reckoned with.
In due course this led to continued engagements for his music. By 2007 he played the legendary DMZ event for the first time and was the opening DJ for Skream, Kode9 and The Bug on Japanese dates. Not one to stop moving, he also continued his work with the band Rebel Familia, releasing an album that featured collaborations with Punky Reggae legend Arie Up and reggae godfather Max Romeo. This project tethered him to dub more and his love of deeper dub-based sounds remains a constant in his music to this day. His relationship with Romeo also continued with the Lee Perry-associated singer making an appearance on the club smasher single Babylon Fall released this past September on DEEP MEDi Musik and also featured on New Epoch. Romeo’s mystic voice lends itself well to the spirit-laden music of Goth-Trad. Unlike the Shinto mountain and forest spirits of old though Maruyama-san’s music is firmly routed around the spirits of his city. His is the music of dark alleyways in Shinjinku on a cold wet night, the soundtrack to the underbelly of a sprawling modern metropolis on the edge, a noir Tokyo first seen in the post-war films of Japanese New Wave directors in the early 60s and the films of the Art Theatre Guild. It is Western-influenced yet uniquely Japanese.
In the Art Theatre Guild film Eros Massacre we see the story of a Japanese anarchist revealed as sword fights take place on a Tokyo highway shot in beautiful captivating widescreen black and white. It’s this kind of contradiction that we hear in Goth-Trad – sounds we think we know mutated into new shapes and forms. The sound of Goth-Trad cuts through the humdrum of copycats. 2007 ended for Goth-Trad with more European dates across eight countries, this time with both live and DJ performances. The following year he continued to build his reputation with three releases – Far East Assassin for Skud Beats, Genesis for Soul Jazz Records and Law for DEEP MEDi Musik, the imprint that was quickly becoming Goth-Trad’s home. In 2009 he became an in- demand remixer with remixes for both Skream and Distance. Two more heavyweight singles for DEEP MEDi Musik Dark Path and Sunbeam also followed. After that came same lab time leading up to his most assured sounding album to date.
New Epoch is by far and away Goth-Trad’s most complete piece of work to date, showcasing what he is has learnt in his years of producing, touring, playing live and remixing. The album features eleven superbly and delicately crafted tracks. From the opener Man In the Maze full of beautifully dark, emotional strings and pulsating, mesmerizing groove to the intense synthesizer stabs and pure dance-floor mayhem of the Mirage – one of the strongest tracks that has been firing in heavy rotations from Mala and Kode9 – to the title track New Epoch which defines a producer digging through different styles, experiences and cultures to find himself now one of the most unique artists within the scene and beyond. We’ll leave the final words to Goth-Trad himself (as told in September to Low End Theory),
“To be honest with you I’m not listening to Dubstep that much, the whole reason I got into making Dubstep is because it’s free. You can do anything with it. Take it all sorts of directions…. I’m always looking for more directions and styles within my work, but I’m not really thinking I’m doing Dubstep. I’m just doing my sound. I’ve been doing this style of music for almost ten years and I just say all this music is bass music. I’m putting a lot of variety into the new album. Some tunes are very techie, some tunes are much more experimental, a bit glitchy. There may be some more banging stuff. I’ve lots of ideas to keep moving with.”
New Epoch indeed! Onward marches the one-man army known as Goth-Trad.
MEDICD007
Goth-Trad
New Epoch
Release date: 6th February 2012
Barcode: 5055317219596
01. Man In The Maze *
02. Departure *
03. Cosmos
04. Airbreaker
05. Walking Together *
06. Strangers *
07. Babylon Fall (Ft. Max Romeo)
08. Anti Grid *
09. Seeker *
10. Mirage *
11. New Epoch *
* Tracks feature on the MEDILP007 vinyl version of the album which also comes complete with the CD version too.
MEDI053
Goth-Trad
LP Sampler
Release date: 30th January 2012
Barcode: 5055317221353
a) Airbreaker
aa) Cosmos
Goth-Trad – Airbreaker / Cosmos [MEDI053] DEEP MEDi Musik by stholdings
http://deepmedi.com/
http://www.facebook.com/deepmedi
Interview with Goth-Trad on Resident Advisor:
http://www.residentadvisor.net/feature.aspx?1510
It’s that time of the year again, 2011 is coming to a close and the STHoldings staff members gather together to discuss their Top 3 tracks of the year (not as an easy task as i’m sure you can imagine)…
Here’s last year’s picks as we’re in the mood to reminisce.
01. Instra:mental – Voyeur [DISF011]
02. Fierce & Vicious Circle – Section VIP [QRNPLATE001]
Fierce / Vicious Circle ‘Section VIP’ / ‘Feedback’ [PLATE001] by stholdings
03. Cotti Ft. Badness – Teen Wolf [STN002]
Cotti Ft. Badness ‘Teen Wolf’ / Cotti & Coki ‘Jugger Nog’ [STN002] by stholdings
—————————————————–
01. XXXY – You Gotta Do You [ORCA004]
xxxy – You Gotta Do You – 004 by orca.recordings
02. Blawan – Potchla Vee [HESCD001]
Blawan ‘Potchla Vee’ (Hessle Audio) by punchdrunkmusicdotcom
03. Blu Mar Ten – Made In London [BMTCD002]
Blu Mar Ten – Made in London by Blu Mar Ten
—————————————————–
01. Blawan – What You Do With What You Have [RS1108]
Blawan – What You Do With What You Have by i-D online
02. Drums Of Death – Cold Lazarus [CIV024]
Cold Lazarus Club by Drums Of Death
03. Drums Of Death – Tear The Box Apart [CIV032]
—————————————————–
01. Teeth – Shawty [502003]
502:003 Teeth – Shawty/Shawty [FaltyDL Remix] by 502 Records
02. T-Polar – Apollo [SAIGON006]
T-Polar – Apollo EP [SAIGON006] by Saigon Recordings
03. Funk Ethics – Give (Von D Remix) [BOKA037]
Funk Ethics & Lucid Directions – Give (Von D Remix) [Clip] by BOKA
—————————————————–
01. Pessimist & Arma – Cobalt [ALIGN001]
ALIGN001 AA Pessimist & Arma – Cobalt Clip – OUT NOW! by Alignment Records
02. Skeptical – Blue Eyes [RECIPE024]
SKEPTICAL ‘BLUE EYES’ RECIPE024a by Ingredients:
03. Joe Goddard – Gabriel EP [GREC022D]
Joe Goddard Gabriel EP (Vinyl Format) Greco-Roman [GREC022V] by stholdings
—————————————————–
01. Skeptical – Blue Eyes [RECIPE024]
SKEPTICAL ‘BLUE EYES’ RECIPE024a by Ingredients:
02. Conqueror – Highest Order [LOB003]
New York Transit Authority ‘Off The Traxx’ / Conqueror ‘Highest Order’ Lobster Boy [LOB003] by stholdings
03. Pangaea – Won’t Hurt [HES017]
Won’t Hurt by pangaea
—————————————————–
01. Calibre – Notting Hill – Signature [SIGCD007]
Calibre – Condition [SIGLP007] by Surus
02. Calibre – Piano Bizness – Critical Music [CRIT059]
Calibre- Piano Bizness – CRIT059 by Critical Music
03. Von D Ft. Phephe – You’re The One – Boka Records [BOKACD001]
Von D Ft. Phephe – You’re The One by BOKA
—————————————————–
01. Blu Mar Ten Ft. Kirsty Hawkshaw – Whisper [BMTCD002]
Blu Mar Ten – Whisper (feat. Kirsty Hawkshaw) by Blu Mar Ten
02. Klute – Shy Piece [SUICIDECD010]
03. Skeptikal – Blue Eyes [RECIPE024]
SKEPTICAL ‘BLUE EYES’ RECIPE024a by Ingredients:
—————————————————–
01. Krakota – Be Myself [RECIPE018]
Krakota – Be Myself (edit) – Recipe book volume one LP (May 2011) by Ingredients:
02. Skeptical – Refraction [RECIPE021]
Skeptical – Refraction (edit) – Recipe book volume one LP May 2011 by Ingredients:
03. Break – Freak [SUICIDE061]
Break – Freak – suicide061 / suicidecd010 – OUT NOW! by Commercial Suicide
—————————————————–
01. Joe Goddard – Gabriel [GREC022D]
Joe Goddard Gabriel EP (Vinyl Format) Greco-Roman [GREC022V] by stholdings
02. Marlow – Love Kills Slowly [NCOMP003]
Marlow ‘Love Kills Slowly’ No Comply Recordings (NCOMP003) by stholdings
03. Pangaea – Hex [HEK013]
HEK 013 A Pangaea – Hex by Hemlockrecordings
So that’s another year almost done and with it come the inevitable top this, top that lists. Here are details of how STHoldings distributed labels/artists featured in the end of year lists from around the web.
http://www.residentadvisor.net/feature.aspx?1422
46. Maurice Donovan - Babeh [SSSSS]
The man formerly known as Ramadan cuts up a classic into something resembling house.
SSSSS02 A – Maurice Donovan – Babeh by Hemlockrecordings
22. Peverelist - Dance Til the Police Come [Hessle Audio]
Jungle-inspired-swinging post-dubstep—or in other words, a Bristol-based genius at the top of his game.
Peverelist ‘Dance til the Police Come’ by Peverelist
19. Scuba - Adrenalin [Hotflush]
A lot of 2011′s big tracks inspired as much bickering as they did dancefloor mayhem, and Scuba’s only single under his usual moniker was no different. Following in his new, looser, and housier direction, “Adrenalin” is eight minutes of rigid repetition, incessantly catchy basslines and a strobing vocal sample. But the song’s lopsided progression is the important part, because three minutes in it melts away into one of the year’s most decadent breakdowns, several minutes of building synth washes and whooshes that unashamedly ascend to the highest of the gurning trance heavens. The song’s title might imply a certain energy, but we all know there’s a different chemical driving this one.
Scuba ‘Adrenalin’ Hotflush Recordings [HF030] by stholdings
17. Pangaea - Hex [Hemlock]
Pangaea’s “Hex” was perfectly fine for the first 86 seconds. Pretty swell even. A bit of rhythmic trickery, a nice organic bed for it all to sit on. Then there was this: “Buh buh buh buh buh buh buh buh buh kut buh buh buh buh buh buh buh buh buh kut be booooooooooooy be boooooOOOOOOOoy.” It was at that moment that “Hex” became one of the most exciting songs we’d heard all year. That Kevin McAuley had further tricks up his sleeve later on is icing on the cake of course, but it’s also why we kept coming back to it throughout the year.
HEK 013 A Pangaea – Hex by Hemlockrecordings
10. Unknown Artist - Sicko Cell [Swamp 81]
Be honest: When you finally heard “Sicko Cell” in full, you were a little bit underwhelmed. (If you even bothered to track it down at all.) There’s not much to say about the rhythm. There’s hardly a drop. Even the melody—if you can call the atmospheres a full-fledged melody—don’t inspire much poetry. There is a vocal, though. Perhaps you remember? It’s the one about cocaine powder. The one that drove you mad in a club this year trying to figure out where it was from. The one that Loefah, Oneman and others couldn’t stop playing. The one that landed this tune in our top 10 tracks of the year.
? – Sicko Cell / Knock Knock [SWAMP014] Swamp81 by Surus
01. Blawan - Getting Me Down [White Label]
The whole story behind “Getting Me Down” is a bit corny really. I went out on New Years Eve—like everyone else does, and I did the whole thing, had a good time, left quite early and came back home and kind of just sat at my computer all night/morning. I had these disco loops I had been working on that I wasn’t really doing much with, and I started messing around with the a cappella and then something just clicked. I did it in about four hours and kind of forgot about it.
This one dropped off the radar for me a little bit, because I actually thought it was one of the weirder things I had written. I never really grasped the catchy vocal properly until I put it into context. A few guys said, “Yeah, I really like that tune,” but nothing more than anything else I sent before. The first person to get anything from me is usually Ben UFO. Ben gave it the first play on Rinse FM, and somebody then ripped it from the radio stream and uploaded it to YouTube—something that seems happen all the time now. That played an integral part of getting the tune in people’s heads really.
I’d been playing the tune out a lot, and it had got an OK reaction. I mean, I had always thought of it as filler for a set anyway. But once the YouTube clip was up, a lot of people in clubs knew what it was, even though it was only three or so weeks after I had finished making it. It’s really strange how things move so fast.
Blawan ‘Getting Me Down’ (White label) by punchdrunkmusicdotcom
http://www.residentadvisor.net/feature.aspx?1423
19. Instra:mental - Resolution 653 [NonPlus+]
The problem with Instra:mental? They release too much good music. “Problem” is the wrong word, but such has been the standard of Alex Green and Damon Kirkham’s output these past couple of years it’s become tough to ruminate on each new offering in isolation, fully appreciating the true extent of its merits. They’ve spoilt us, basically—and none more so than on their debut album, Resolution 653. Barely pausing for a fag break across its 13 tracks, the pair coaxed jaw-clenching amounts of warmth and grit out of their machines, coming off like the natural heirs to Drexciya’s electro throne.
Instra:mental ‘Resolution 653′ Album audio clips Nonplus Records by stholdings
http://www.residentadvisor.net/feature.aspx?1424
20. Various Artists - Mosaic Vol. 1 [Exit]
A lot of the tunes on Mosaic were earmarked as singles for Exit. But it became really clear that I wasn’t going to have the schedule to get everything out, so a compilation seemed like a good idea. In the same way as the [Autonomic] podcast, putting this music together served as a platform for people to get their heads around it. If the tracks are all in dribs and drabs it sort of goes unnoticed. I think compilations and the podcast kind of helped identify this group of artists producing this music. I suppose that’s where the title Autonomic came from. It’s funny that it became a genre name sort of, because that was never the intent.
- dBridge
Mosaic Vol 1 CD by Exit Records UK
14. Various Artists - Back & 4th [Hotflush]
I wasn’t directly involved in the process of choosing tracks for Back & 4th, but the goal was to present a gradual evolution of the label’s sound over the last few years. It was also an opportunity to bring in a few newcomers who provided a clear manifestation of that same evolution, with Roska, Boddika, dBridge, and FaltyDL adding their own flavors to the mix. I was also glad that Scuba picked up my own track, “Axis.” It’s the first one I made that I was really satisfied with. My favorite track on the compilation, though, was Boxcutter’s “LOADtime.” He’s always been really inspiring to me, as a veteran producer whose talent and skill really set him apart. – Incyde, Label Manager
BACK AND 4TH – Disc 1 by Hotflush
10. Various Artists - 116 & Rising [Hessle Audio]
We had the idea for the compilation at the end of 2010 and started putting the wheels in motion soon after that. We approached some people we hadn’t worked with before as well as asking those we had if they were interested in the concept too. Luckily for us, everybody was. In terms of the name, the three of us were on the train coming back from our distributors after talking about the project, thinking of titles. I’d been re-listening to Experience by the Prodigy a week or two earlier and one of the tracks on there is called “Everybody in the Place (155 & Rising).” So 116 & Rising (referring to the BPM of the slowest track in the comp) is a bit of a joke, but at the same time summarises the project and a lot of what we’re about nicely.
- Pangaea
James Blake – Give A Man A Rod (Second Version) by BOILER ROOM
http://www.residentadvisor.net/feature.aspx?1421
20. NonPlus+
Nonplus+ heads Alex Green and Damon Kirkham simply claim to release what they like—no matter the genre. That’s what everyone says…until the distributor steps in. Luckily for us, Green and Kirkham didn’t get the memo, and spent the year reaffirming their pan-genre approach by putting Actress’ blurry electronica next to Lowtec’s tired house, and Boddika’s breezin’ electro up against the Neil Landstrumm and JD Twitch collab Salsa Apocalypso. Add Instra:mental’s own brutal and beautiful Resolution 653 to the mix, and you have yourself a wonderful and confusing year
19. Idle Hands
Saunter down Stokes Croft in Bristol with some cash in your pocket and you’ll likely end up trawling the racks of Idle Hands. The label of the same name was started up in 2009 while Chris Farrell was still employed a bit further up the street by the erstwhile Rooted Records. Much like the stock in both these stores, the label hasn’t been wedded to any one genre. In 2011 that’s meant an impeccable string of singles from artists like AnD, Kowton, Kevin McPhee, Szare and Outboxx which have run the gamut between charcoal techno and jazzy house.
05. Hotflush
With a hefty label compilation occupying the first quarter of the year and a busy 2010 behind him, it could have been a year of consolidation for Scuba’s Hotflush. Instead, the imprint pushed forward with new talents George FitzGerald, Braille) and old Paul Woolford & Psycatron). Looking over the names that released on Hotflush in retrospect, and things seem obvious. (Err… of course Sepalcure and Sigha go together!) But it speaks to the platform that Scuba has created that artists from house, techno and bass music even think to send him tracks—and that he finds a way to work all of them into his DJ sets.
http://pitchfork.com/features/staff-lists/8726-the-top-100-tracks-of-2011/
94. Sepalcure “Pencil Pimp” [Hotflush]
As Sepalcure, Travis Stewart and Praveen Sharma slid in right before the whistle to remind us that electronic music devices can do more than evocatively sputter and fritz. “Pencil Pimp” whirls on a machine-lathed spindle of Chicago footwork, capturing a feeling of curtailed tension and lurking danger with its soulful vocal clips and warm synth pads. There are no gestures of rebellion or subversion, only an argument for well-made music at a time when it might seem besieged. “Pencil Pimp” demonstrates why we feel so comfortable breaking the mold: We know someone will come along who feels passionate enough to cast it again, tempered even stronger. –Brian Howe
Sepalcure – Pencil Pimp / I’m Alright (album single) by Hotflush
86. Blawan “Getting Me Down” [self-released]
Blawan first drew attention with tracks that wielded wild drums like a toddler banging on household objects, but his most powerful moment this year came when he reined in those tendencies for a straightforward house thumper. A lot of the impact in “Getting Me Down” comes fromthat Brandy vocal, squeezed and wedged into a galloping beat that recontextualizes the R&B slow-jam original as a sugary, hyped-up rush that’s dangerously contagious. Released discreetly after months of dubplate domination, the track’s landing was titanic: it was impossible to walk around record stores in London in May without hearing it blaring from speakers, or go to a club night without it being rinsed at least once. For the first half of the year, “Getting Me Down” was an event, and listening back to it at year’s end, it’s easy to see why. So few tracks combined candyfloss rave, UK garage hysteria, and dubby dread (check the growling basslines) into something that sounded so universal yet so subversive, helping to kick off a new impulse in the bass music world that was all about house. –Andrew Ryce
http://pitchfork.com/features/staff-lists/8727-the-top-50-albums-of-2011/?utm_source=related
47. Sepalcure ‘Sepalcure’ [Hotflush]
In an interview with The Guardian last month, Hotflush boss Scuba named “Outside”, the closing song from bass music duo Sepalcure’s self-titled debut LP, as the song he would want to open his next DJ set with. It’s a strange choice for a set opener– “Outside” is beatless, essentially four minutes of drone and clipped voices– but then again, not much about Sepalcure makes sense in the constant forward-thinking climate of bass music circa 2011. As an album, it doesn’t really do anything new, and a few of the signifiers that Travis Stewart and Praveen Sharma plunder onSepalcure were, to some, reaching their expiration dates– specifically, the use of pitched vocals that Stewart liberally splayed on his album this year as Machinedrum, Room(s). Part of what makes Sepalcure such a deeply enjoyable listen is how familiar it all is, pogoing between juke-derived textures, IDM’s click-clack machinery, misty pastoral ambience, and house music’s 4/4 insistence while weaving a web of shivering romance that still manages to move bodies. Above all else, Sepalcure offers a necessary reminder that, yeah, change is good, but elegant, refined perfection also has its place. –Larry Fitzmaurice
Sepalcure – Sepalcure LP *Album Preview* [HFLP006] Hotflush Recordings by Surus
http://www.factmag.com/2011/12/05/50-best-tracks-of-2011-50-41/
47: PAUL WOOLFORD & PSYCATRON ‘STOLEN’ (HOTFLUSH)
Almost five years on from ‘Erotic Discourse’, someone, somewhere did 2011 a massive favour and relit the fire under Paul Woolford’s arse, prompting the Leeds veteran to roll back the years and deliver some of his all-time best material. ‘Razor Blade’ and his remix of T. Williams and Terri Walker’s ‘Heartbeat’ were sublime, but this colossal collaboration with Psycatron on Hotflush simply took the biscuit.
Paul Woolford and Psycatron – Stolen [HFT018] by Hotflush
40: OLD APPARATUS SIDE A PART 1 (DEEP MEDI)
Old Apparatus’s mysterious debut – 20 minutes of music spread across two untitled sides of vinyl – is something we recommend enjoying as a whole, but there’s no doubt that the first distinct movement of the A-side packs the fiercest punch. It sounds like UK garage gone industrial, its perfectly swung rhythm riven by distortion and an overloaded darkside bassline. The end, it suggests, is very much nigh.
39: TEETH ‘SHAWTY’ (502 RECORDINGS)
Smoked-out drum machine pop from Helsinki’s TEETH that suited 502′s darkroom aesthetic (see also: Jay Weed, Fis-T) to a tee.
Oneman’s 502 Label: Teeth – Shawty/Shawty [FaltyDL Remix] 502003 by stholdings
24: KAHN ‘LIKE WE USED TO’ (PUNCH DRUNK)
Kahn’s beautifully crafted debut single bowled us over, with its vocals chopped into the syllables of pure energy and longing – “feminine pressure” writ large – and strapped to the most lithe and undeniable dubstep rhythm we heard all year.
Kahn ‘Like We Used To’ (Punch Drunk Records) by Punch Drunk Records
20: BLAWAN ‘GETTING ME DOWN’ (WHITE LABEL)
This year, Blawan expanded on the promise of his 2010 debut single ‘Fram’ to become one of the UK’s most in-demand, and refreshingly, heaviest producers, proving that you can still go hard in the paint without resorting to dubstep or electro-house cliches. He showed off his lighter touch, however, on this vinyl only edit of Brandy’s ‘Wanna Be Down’; it’s still his finest track to date.
17: PANGAEA ‘WON’T HURT’ (HESSLE AUDIO)
Pretty much everything Pangaea touches turns to gold, but nothing gleamed so bright in 2011 as ‘Won’t Hurt’ – a rude-as-all-fuck but masterfully honed onslaught of scything synths, choppy drums and outrageous sub-bass.
13: UNKNOWN ARTIST ‘SICKO CELL’ (SWAMP81)
I’m the information… co-caine powder. Say no more.
07: ROCKWELL ‘ARIA’ (CRITICAL AUDIO)
The most atmospheric, emotive and dynamic drum’n’bass track of the year, and an instant classic – wrought out of fierce, fanatically detailed drum programming, ghost-traces of This Mortal Coil’s ‘Song To The Siren’ and impeccably timed, gut-skewering bass stabs.
http://www.factmag.com/2011/11/30/50-best-albums-of-2011-50-41/
42: 2562 FEVER (WHEN IN DOUBT)
Fever is a concept album with a very simple but rigorous set of rules – every nuance and texture is half-inched from disco records produced from the mid 70’s to the early 80’s, with producer Dave Huismans’ own birth year of 1979 acting as a temporal pivot. The results don’t sound like disco at all – beyond a certain joyous, celebratory quality – but rather a new kind of dance music; dynamic, shapeshifting and irrepressible.
2562 – Fever (doubt001cd/lp) [April 2011] by 2562 / A Made Up Sound
http://www.xlr8r.com/features/2011/12/xlr8rs-best-2011-labels
5. Hotflush
If you’re wondering why we think Hotflush is one of the best labels of the year, then you are not reading XLR8R enough. Let’s start with the obvious reasons: Sepalcure’s debut full-length topped Hotflush’s year off with a stunning display of dense post-dubstep, George FitzGerald dropped two more solid singles of R&B-infused garage, and label head Paul Rose (a.k.a. Scuba) unleashed one of 2011′s biggest tunes, “Adrenalin.” Meanwhile, Praveen Sharma of Sepalcure dropped four tracks of luscious, rolling garage with his A Meaning EP as Braille and Lando Kal stepped outside his usual role as the taller half of Lazer Sword long enough to deliver two of his most impressive solo cuts to date, “Further” and “Time Out.” Big, soulful tunes, consistently top-notch output, and a proven ability to not only shift within the ever-moving bass-music scene, but, more importantly, the power to influence it, made Hotflush a force yet again in 2011. Glenn Jackson
4. SWAMP81
Second acts can be hard to come by in electronic music, particularly in the lightning-quick environs of London’s hardcore continuum, but DMZ co-founder Loefah doesn’t seem to be having much of a problem with it. Since founding the SWAMP81 imprint in 2009, he’s quickly assembled a roster that functions as a sort of all-star team for upfront, low-end-heavy sounds. After serving up massive tunes like Addison Groove’s “Footcrab” and Ramadanman’s “Work Them” in 2010, the vinyl-only label stepped it up even further in 2011, dropping releases from FaltyDL, Zed Bias (both solo and as one-half of the Funkbias collaboration with Funk Butcher), and another single from Addison Groove. SWAMP81 was also home to records from Boddika—establishing him as a solo artist and one of the year’s biggest producers. Perhaps most notably, the label (eventually) released “Sicko Cell,” one of 2011′s most anticipated tunes. (The song may not have quite lived up to the hype, but it did snag the #13 slot on our countdown of the year’s best tracks.) Even as folks begin to wonder about the state of so-called bass music and attempt to figure out exactly where it’s heading, there appears to be no shortage of quality music coming from the SWAMP81 camp. Shawn Reynaldo
http://www.xlr8r.com/features/2011/12/xlr8rs-best-2011-tracks-part-one
http://www.xlr8r.com/features/2011/12/xlr8rs-best-2011-tracks-part-2
47. Boddika
“2727″
(SWAMP81)
Even in a year when Instra:mental, the duo he’s been a part of for more than a decade, released a widely acclaimed and sonically adventurous new album, the ascent of Boddika as a solo artist could not be stopped. Tracks like “2727″—with its thunderous drums, acid lines, and unapologetically raw aesthetic—are the reason why. Shawn Reynaldo
46. French Fries
”Champagne”
(ClekClekBoom)
Legend has it that Claude VonStroke wanted to sign “Champagne” to his Dirtybird label, but young French producer French Fries politely declined and kept the tune for his own ClekClekBoom imprint. True or not, it’s quite the story, not that this tune, which uses white space as effectively as it employs snappy drums and eerie synths, needed much help finding its way into DJs’ playlists. Shawn Reynaldo
French Fries – Champagne / Hugz ft. Bambounou [CCB001] – Out Now! (12″ Ltd Ed Vinyl) by ClekClekBoom
44. Sepalcure
”Pencil Pimp”
(Hotflush)
Sepalcure seems to compose bass music on the most loose, yet subtle terms, and the pair’s unique perspective on the genre has continued to yield stellar results. Somehow both tribal and smooth in the same breath, “Pencil Pimp” immediately stood out during the course of the duo’s debut LP, mostly due to the sheer weight infused into its post-happy sound—think Mount Kimbie with slightly bigger balls (and maybe some more drugs in the mix). Glenn Jackson
43. Blawan
”Getting Me Down”
Sampling generously from Brandy’s “I Wanna Be Down” is kind of a no-brainer (whether or not you’re willing to admit it, we all loved that song), but Blawan did much more than simply edit Brandy’s half-forgotten hit—he propelled it into the club of some distant planet with monstrous percussion and whatever the hell that reverse low-end sound is. Wherever it comes from, it’s strange, unnerving, and just about perfect. Glenn Jackson
26. Instra:Mental
“When I Dip”
(NonPlus)
2011 found veteran UK duo Instra:mental completing a very large left turn, essentially abandoning drum & bass for old-school electro, heavy low-end, and lots of 808 drum sounds. Ahead of the acclaimed Resolution 653, the pair dropped “When I Dip,” an undeniable tune that also folds some Southern-style booty bass into the outfit’s new sonic formula. It proved to be quite the effective opening salvo, both for Instra:mental’s re-emergence and Boddika’s big year as a solo artist. Shawn Reynaldo
Instra:mental Resolution 653 LP Sampler ‘Thomp’ / ‘When I Dip’ [NONPLUS013] by stholdings
24. Julio Bashmore
“Ribble to Amazon”
(3024)
There’s a line somewhere between soulful, UK-style house and anthemic, almost cheesy, bangers that can be dangerous. However, when walked just right, that line is perfect for the dancefloor. Julio Bashmore knows exactly how to walk it, and “Ribble to Amazon” is one of his finest journeys on that limb—the pads are warm, the vocals are just right, and those breakdowns are too good to be true. Glenn Jackson
JULIO BASHMORE RIBBLE TO AMAZON (3024-011B) by 3024world
18. Teeth
”Shawty”
(502)
Like many selections on Oneman’s 502 imprint, there’s not a whole lot to “Shawty.” Listening to the song, it quickly becomes apparent just how much space there is in the production, a factor that’s just as important as any of the actual sonic elements being put to use. That said, each of those elements is just about perfect. Utilizing low-slung drum beats, haunting synth melodies, and a sultry vocal sample, Finnish producer Teeth not only put himself on the bass-music map, he also created one of the year’s most memorable tunes. Shawn Reynaldo
13. Unknown
”Sicko Cell”
(SWAMP81)
It’s amazing that when “Sicko Cell”—undoubtedly the most hyped tune of the year—was finally released in late July, the world was essentially already over it. In a world where anticipation grows exponentially online and DJs are mastering YouTube rips in order to play the latest tune, especially one created “anonymously” (it’s an open secret that Joy Orbison produced the track) and only passed along to a select few, “Sicko Cell” simply ran out of steam. Nevertheless, that doesn’t change the fact that it’s a monster of a club track. With a stripped-down aesthetic and eerie vibe, the song is rather similar to Teeth’s “Shawty,” but the twisted, Burial-esque vocal samples put “Sicko Cell” over the top. Shawn Reynaldo
3. Scuba
“Adrenalin”
(Hotflush)
Scuba made a trance song. (Polite company might refer to it as progressive house, but we’re going to call a spade a spade.) On the heels of “Loss,” which he released earlier in the earlier under his SCB moniker (and already nabbed #41 on this list), it was apparent that Paul Rose was interested in exploring new sound palettes, but something this, well, epic was not really expected. While the notion of one of the most influential and boundary-pushing dubstep producers of the past decade making a tune that Sasha would play (yes, that happened) sounds like some kind of nightmare on the surface, it doesn’t change the fact that “Adrenalin” is not only an excellent track, but also a production that completely resets exactly what it is that Scuba is all about. Containing one grandiose and ethereal breakdown—not to mention a series of smaller ups and downs along the way—”Adrenalin” certainly plays to the dancefloor, particularly dancers looking to lose their shit once the beat comes back in and the song’s chunky bassline takes hold. The synths are washy and warm, the sounds employed are impeccably clean, and yes, the track is absolutely, undeniably a bit cheesy. It’s also eight of the most enjoyable minutes of music we heard all year (more or less on repeat, to be honest), and we can’t wait to hear what Scuba comes up with next. Shawn Reynaldo
Having released the anonymous and enormous F**k Yonkers bootleg earlier this year, the Amsterdam based Audio Culture Label is poised to unleash their first official release, a piece of music which is the result of the collaborative efforts of Dutch wunderkid Presk and Amsterdam’s premier tastemaker Cinnaman.
In part, Pieter ‘Presk’ Willems’ support is responsible for the label’s inception. In a short space of time Presk has built up a solid and impressively distinct sounding catalogue of work released on respected imprints such as Ramp sister label Fourth Wave and Doc Daneeka’s Ten Thousand Yen.
Making a name for himself with nothing more than his hands and impeccable taste, Yuri ‘Cinnaman’ Boselie has become somewhat of a musical institution in Amsterdam. He’s the man behind the ground breaking Colors nights and is responsible for the equally forward thinking Beat Dimensions compilations.
The B-side features two expertly remixed and uniquely different takes on the original, courtesy of non other than Instra:mental’s Jon Convex and Ten Thousand Yen head honcho Doc Daneeka.
ACLBL001
Presk & Cinnaman
A1) Sweat
B1) Sweat (Jon Convex Remix)
B2) Sweat (Doc Daneeka Remix)
Released on 19th December 2011 on limited white vinyl and digital.
PRESK & CINNAMAN – SWEAT (ACLBL001 out 19th December 2011) by Audio Culture
The album to end all albums is on target for release on 05.12.2011. It is not fully understood how any other albums will be able to compete after the ‘Commercial Suicide Compilation’ has been released but the world has been warned.
Commercial Suicide is the vanguard of Drum and Bass and has been since it’s inception 10 years ago. Proving a fertile breeding ground for new approaches to dancefloor Drum and Bass and beyond, it is only now after 10 years that a full compilation has taken shape.
Break, Calibre, Klute, Dub Phizix, Vicious Circle; the list of con- tributors reads like a who’s who of contemporary drum and bass production. The Commercial Suicide ‘Compilation’ features 13 of the best d&b tunes of all styles, from established names to the very hottest new faces on the scene.
The music business has changed immensely over the 10 years since Commercial Suicide was born, but one thing has remained constant; a great compilation can define a genre and it’s era. Klute has once again proved his peerless A&R skills with an album that reflects and defines the Commercial Suicide sound in the year 2011, while pointing the entire Drum and Bass genre forward with it’s foot firmly on the gas pedal.
OUT NOW – VINYL SAMPLERS
SUICIDE059 Commercial Suicide: Compilation part 1
Vicious Circle & Nocturnal / Dom & Roland
a Vicious Circle & Nocturnal – Last Chance Saloon
aa Dom & Roland – Rollstar
SUICIDE060 Commercial Suicide: Compilation part 2
S.P.Y / Dub Phizix
a S.P.Y – Bulldozer
aa Dub Phizix – Scum
05.12.2011 – FINAL VINYL SAMPLER
SUICIDE061 Commercial Suicide: Compilation part 3
a Cern, Dose & Teknik – Huntsville
b Break – Freak
c Mindscape & Jade – Orion
d Calibre – Student Music
05.12.2011 – SUICIDECD010
01 Optiv – Midnight Nation
02 Mindscape & Jade – Orion
03 Gridlok – Enemies of the State
04 Dub Phizix – Scum
05 Break – Freak
06 Calibre – Student Music
07 Klute – Shy Piece
08 Nymfo & State Of Mind – Roxy
09 Seba – It Aint the Weather
10 Dakosa & Anile – Settle The Score
11 S.P.Y – Bulldozer
12 Cern, Dose & Teknik – Huntsville
13 Vicious Circle & Nocturnal – Last Chance Saloon
05.12.2011 – DIGITAL EXTRAS
14 Dom & Roland – Rollstar
15 Amit – Skull Puncher*
16 Dose, Trei & Menace – Valium Express VIP*
17 Dub Phizix – Polar*
18 Soul Intent – Control*
* mp3 exclusive
Calibre – Student Music – suicide061 / suicidecd010 by Commercial Suicide
S.P.Y – Bulldozer – Suicide060 by Commercial Suicided
http://soundcloud.com/commercialsuicide
http://commercialsuicide.org/
Release Date: Nov 7th
Cat No: DARKESTRAL006
Format: 12” Vinyl only
Spec: Reverse Board Sleeve features Gold Metallic Pantone logo and lettering front and back, Pantone matched labels, plastic inners.
Transportation AAD ‘Last Train To Lexington’ [CLIP] Darkestral Recordings [DARKESTRAL006] by stholdings
Darkestral was set up as an imagined cinematically orientated sound space allowing producers creative room to make music of a more visual nature, within or outside of their percieved genre.
Continuing this theme, Transportation AAD was dreamt up to bring together Drkstr’s (label owner) short film script ideas with Boddika’s exemplary talent at interpretation and production so that over the course of the studio sessions, the script could come to life in audio form. The refers in part to a vessel (Transportation) descended from the Darkestral mothership and to the recording path process, (AAD) Analogue Analogue Digital.
a) Transportation AAD ‘Last Train To Lexington’
4am, Brooklyn, N.Y.C. early 80′s, the last graffed up metallic shell makes its way on a fraught course. Tension, heightened awareness of the grate of wheels on track and late night track repairs in dingy tunnels. A journey that must be undertaken.
aa) Transportation AAD ‘U.F.Unk’
A UFO journey between space stations encapsulating gravitational pull, air brakes and subsequent landing. On arrival the beats reduce elements of the last 20 years underground music – detroit, electro, dnb and ragga into a cohesive sound.
Release Date: Nov 7th
Cat No: DARKESTRAL007
Format: 12” Vinyl only
Spec: Reversed board sleeve features Silver Metallic Pantone logo and lettering front and back, Pantone matched labels, plastic inners.
Vaalhaala ‘Phaethon’ [CLIP] Darkestral Recordings [DARKESTRAL007] by stholdings
A selection of short cinematic explorations taking in the ancient, the far reaches of the galaxy and the end-time, featuring Transportation AAD (Boddika/Alex Instra:Mental & Drkstr), Grey Goo (Boddika/Alex Instra:Mental), and Vaalhaala (to remain anonymous..).
a1) Transportation AAD ‘Pagoda’
Bladerunner reimagined as 18th Century Kyoto, droplets fall and splash wooden deck from angled eaves in a rained drenched atmosphere, whilst distant drums beat a tender solumn ritual.
a2) Grey Goo ‘Lost Transmissions’
The end of time encapsulated, a broken UFO floats through a turbulent shower of space debris, still emiting signals to an unloving universe, no destination, no chance of return.
aa1) Vaalhaala ‘Phaethon’
Kaleidoscopic journey toward a lost sun deep in the galaxy, where starburst spectal colours stream through the viewing platform and a lone pilot sees images
previously unimagined.
aa2) Grey Goo ‘See Me’
Pensive strings and radio static permeate the final journey on this mission, clumps of debris tampoline off the side of the craft as memories flood back to an ancient time and a glint of light enters the scene before we move on to the next undetermined destination with a sense of ease and knowing.
![Blu Mar Ten new single! [BMT006]](http://www.stholdings.co.uk/wp-content/themes/bloggingstream25/functions/thumb.php?src=wp-content/uploads/2011/09/bmt-logo.jpg&w=64&h=64&zc=1&q=90){kind=logo}
This September Blu Mar Ten release the second single from their much-anticipated new album project ‘Love is the Devil’.
A) Problem Child: Fusing the classic Virus sound with Blu Mar Ten’s inimitable ethereal production ‘Problem Child’ is cross-scene classic finding its way into a wide range of sets, from D Bridge and London Elektricity to Hype and Nicky Blackmarket. A deceptively sedate intro of choirs and strings gives way to a rollout full of howling mid-range and sub basses, interspersed with phrases of pure distortion all gliding over a set of sleazily funky breaks. Watch out for the rollercoaster reese on the second drop, guaranteed to send any club potty.
AA) Sweet Little Supernova: In stark contrast, ‘Sweet Little Supernova’ showcases the talents of Rochelle Parker who delivers a Cocteau Twins-esque vocal over Blu Mar Ten’s dense music. An acoustic percussion line underpins a pulsing set of basslines while a soaring mix of organic & synthetic instrumentation weaves around the unearthly vocal, providing a clear feminine counterpoint to ‘Problem Child’s resolutely masculine approach.
BMT006 – Blu Mar Ten – Problem Child / Sweet Little Supernova by Blu Mar Ten
With resident designer ithinkitsnice on artwork duties Problem Child / Sweet Little Supernova is a clear indication of the quality to be expected from the forthcoming Love Is The Devil LP.
Blu Mar Ten receive regular DJ support from:
Marky, London Elektricity, Doc Scott, Futurebound, Teebee, Instra:mental, D Bridge, Hype, John B, Logistics, Ed Rush, Marcus Intalex, Utah Jazz, Nicky Blackmarket, Makoto, Spectrasoul ,Simon Bassline Smith, Mutated Forms, Randall, Kasra, Ulterior Motive, B Complex, Apex, SPY, Craggz, DKay, Seba, Loxy, Ink, Lynx, John B, Data, Nerm & D-Kode, Jaydan, Annie Nightingale, Crissy Criss, Mosus, A Sides, Tom Middleton, ASC, State of Mind, Lomax, Alleycat, Big Bud and many more..
You can now also preview Blu Mar Ten’s new single on your iPhone, iPod, iPad and Android devices by visiting this page
Released 26th September 2011 on Ltd 12″ Vinyl / Digital.
![Calibre presents “Condition” LP [Signature]](http://www.stholdings.co.uk/wp-content/themes/bloggingstream25/functions/thumb.php?src=wp-content/uploads/2011/09/sigcd007.jpg&w=64&h=64&zc=1&q=90)
It’s that time again where we proudly announce a brand new Calibre LP, due for release on 3rd October 2011. It’s at this point that we usually hand it over to Calibre himself to briefly introduce the album in his own words….
“Condition is my drum and bass follow up to “Even If”, I originally wanted to make an album that was more dance floor influenced, to have a more light hearted approach, in some ways it has that, but I couldn’t stop myself from making the deeper material, for years i have wrestled with the subtle side of drum and bass, my journey has been one that tries to attain the simple groove, to keep removing the layers of this music, this album is an expression of this, and how im still feeling the underdog waiting for the cycle……. it came about as it always has and thats the way its supposed to, enjoyable and moving fast to discover the stillness.”
SIGLP007
Calibre
Condition
A) Notting Hill
B) Who’s Singing
C) Garbage Man
D) Shlager
E) No More
F) Windows
Calibre – Condition [SIGLP007] by Surus
There will be no seperate CD available, the album will be released as a 3×12″ w/CD shrinkwrapped with the vinyl package.
Release date: 3rd October 2011.
Full CD Tracklist:
01. Calibre Ft. DRS – People Never Change
02. Calibre – Notting Hill
03. Calibre – Who’s Singing
04. Calibre – Mirage
05. Calibre – No More
06. Calibre – Foreign Bodies
07. Calibre – Ugly Duckling
08. Calibre – Half And Half
09. Calibre – Garbage Man
10. Calibre – Schlager
11. Calibre Ft. DRS – Closing Doors
12 Calibre – Blackhole Dub
13 Calibre – Windows
An LP sampler is released on Ltd 12″ Vinyl / Digital on 19th September featuring the tracks ‘Foreign Bodies’ and ‘Ugly Duckling’.
www.facebook.com/signaturerecordings
http://esp-agency.co.uk/artist/calibre
