A line up this big, for free, doesn’t come along too often, so you’d be bat shit stupid to miss it. The launch party for Mr Danjah’s new Hyperdub released album ‘Undeniable’ kicks off 10pm at The East Village, Great Eastern Street, Shoreditch tomorrow, that’s Wednesday the 10th of November. Did I mention how big the line-up is? See you there. Bring your best bass face.
Back in August, whilst gearing up to his Planet Mu label compilation entitled Bangs & Works Vol.1 Mike Paradinas shared his take on the origins of Footwurk/Footwork and Juke. Whilst showcasing some snippets and teasers of the scenes best he also featured a couple of the tracks secured for Planet Mu. These clearly whet the appetites of many. Since then there has been a definite upspring in the mentions, conversations and touch points featuring Juke and Footwork.
Although many will tell you it’s been on their radar for a couple of years (or more) it’s only in the last few months that it has consistently crept into a plethora of infulential DJ’s mixes and set-lists. Just today, FACT dropped their one hundred and ninety-ninth mix by none other than Mosca. His mix goes straight in hard with DJ Roc ‘Let’s get it started’ on a Juke, into Jungle, jump up vibe. In a rather similar fashion Mark Pritchard, in his Africa Hitech guise, did a little something similar on Wednesday night at Deviation when he used a coupe of Juke bangers as his stepping stone into a sweet old school Jungle selection which went down a treat. Unfortunately not all crowds are as open-minded as the Deviation regulars. This is something our very own J Money found out first hand on Halloween Friday. It sounds like the punters may have been genuinely scared by the intensity of the Footwork vibes. Oh well, maybe next year 
By then we’ll probably have seen someone like Wiley riding the Juke to widespread acclaim, winning over initial doubters. Although I couldn’t make it in person I also hear that Mr Paradinas did a special guest set at CDR in October alongside Mark Pritchard. As a hotbed for fresh ideas, new talent and some serious innovations in production I imagine his set there would have been met with open ears.
So, while we’ve got a bunch of guys seeding the sound to the open-minded in a dancefloor context, we thought it would make sense to help satiate the interest that seems to be culminating by rounding up some tasters for you. Some more lengthy and focused explorations and showcases of the Juke sound and it’s peripheral influences in mix form come from the likes of Chrissy Murderbot (below), a guy called Screwtec (who runs a Juke/GhettoTech/BootyBass night in Leipzig, Germany) and another favourite of ours being Kaptain Cadillac’s ‘The Footwork Chainsaw Massacre’ mix that Ouzo posted here a few months back. Of course, there is also Mike Paradinas’ own Mixcloud rinse out.
Chrissy Murderbot Booty Mini-Mega-Mix For Sheena Beaston / Strangers In Stereo by Chrissy Murderbot on Mixcloud
To top it off, if you want my take on where this could be heading, I think Chrissy Murderbot hit’s a tasty note with his Trey Songz ‘Neighbors Know My Name’ remix. I know, it’s sometimes hard to swallow, but when new vibes get the vocal treatment they typically go on to gain wider appeal. And, to be honest, if it sounds like this, I ain’t complaining.
We all know that the purple haze of Bristol’s finest has laid a lasting trail that many can’t help but take a little toke on for their own inspiration. It’s no surprise then that when California’s Matty G came to town for his UK debut DJ appearance (apparently) at FWD last week he came packing some serious funked out specimens. In fact, the first half of his set featured a couple of solid G-Funkers that I’m currently on the hunt for. Anyway, Matty’s airing of the aforementioned got my taste buds buzzing, so I went in search of some suitable substitutes to tide me over. To Soundcloud I did hop. Search ‘G-Funk’. F*ck me did I strike gold. The second search result was the following track by a chap named XLII from Koenji, Japan. Check it. At 00:48 I couldn’t help but laugh to my self. You’ll understand why. Dude is sick. This is my sound of the next few summers. Behold, Japanese G-Funk from the future.
Oh, and while I’m on this vibe, I can’t really go without a mention of a Mr Bobby Tank. Dude is on to something hot. Without a doubt this guy is drinking from the same water source as Joker, but he persists to push the envelope. The tangent of his stride is best exhibited on ‘Azraels Apprentice’ (below) where some fairly decent live drums foot the ladder for a sweetly up scaling synth lead. Have a listen. Like I say, he’s on to something, and if this and the likes of ‘Nexus Moonburgers’ are anything to go by, what he perfects in the coming months will likely secure him a second GET SOME mention. ….bated breath.
Azraels Apprentice by BobbyTank
Nexus Moonburgers (unfinished) by BobbyTank
Shout to Scipio Africanu for the Bobby Tank tip-off
Whilst scoping the web, researching another article I’m writing, I came accross this. When you read the article in question, which will ask ‘Who really invented Dubstep’, you will understand why I made a step from listening to early Timbaland instrumentals to this, one of my all time Jodeci favourites ‘What about us’.
People are quick to say that the likes of Joker wouldn’t have taken their grime and dubstep sounds to where it is now if they hadn’t been exposed to Timbaland, but for me there has to be just as much influence coming from these guys, who where in turn drawing on funk sounds pioneered by the likes of Roger Troutman. F#ck it, I don’t even know what I’m getting at here. Just check this beat. Now tell me you can’t hear a touch of James Blake.
I’m loving the way this drops on a big system. Hefty use of the vocal. Haven’t really been following the electro vibe too closely of late, but shout to Session for bringing this one to my attention.
Big Up Podcast 33 – Duffstep by Duffstep
Shortly after posting one of Duffstep’s latest tracks it came to light that he also has a very solid mix doing the rounds in the shape of a podcast for San Francisco’s Big Up magazine. Featuring tracks from the likes of Lone, Pariah, Falty DL and many more Duffstep’s mix more than adequately shines a light on the steppy tech future sounds of now. Particularly tickling me sweet is the inclusion of ‘Pineapple Crush’ by Lone. Solidly referencing the first era of rave with it’s acid splashes and hip-house tinges ‘Pineapple Crush’ sits in this mix like it’s zesty name suggests it might – up front and attention seeking.
OK, so, ideally I would have a direct link to the track in question, but I searched the web high and low to no avail. I even tried uploading the mix from which I first heard this, but that didn’t work either. I have no other choice but to suggest you go direct to the same source I did. It’s worth it. If you are in anyway unfamiliar with the ridiculously solid body of work by 808 State then you’ll be doing yourself a favour anyway. But, as this post is generally about one specific track I have to insist that you skip through to Track 26 (starts coming in to the mix at about 51:12) in Dunfyboy’s 808 State Mix. I’m talking about a serious remix of an already serious rave anthem; Cubik. Widely recognised for it’s distinctive cascading synth stabs, the original tore up warehouses and dancefloors the world over when it was originally released as a B-side to one of 808 State’s singles. A few years later Jon Carter gave it the Monkey Mafia treatment and released, what you will hear, sounds not too dissimilar to the vibe in some of The Bug’s work from a few years back. Heavy ragga undertones with punchy, aggressive programming that wouldn’t sound out of place in some of the tougher edge Funky sets I’ve heard of late.
If you have any trouble finding it, it’s the track directly after MC Tunes ‘The only rhyme that bites’, and if you don’t know that then here it is for your guidance…
PS Dunfyboy has a lot of other decent genre and artist specific mixes that are worth some serious ear time. Check it out.
Dunfy: If you’re listening mate, can you hit us with some Soundcloud love
Oh Gosh! Not much else to say about the antics of this particular Notting Hill Carnival reveler, other than that she’s been slackly studying the art of the Dancehall Queen. Fortunately my eyes were saved from any such sights at this years Carnival. At this point I would normally say enjoy, but I don’t quite feel it to be appropriate for this one. No offense if this is your cup of tea though
Now this is a distinctive track if ever there were one. I’m not too hot about the vocal version but the dub totally sums up the direction in some early house productions that spawned the garage sound. You gotta love those spooky synths and swinging drums. It was produced by a chap named Miles Morgan who also had some success in the early 90′s with his efforts under the Mount Rushmore moniker. Check it, it’s worth a bump.
With over 75,000 plays in under 12 hours (and counting) this is something worthy of a listen. It’s trippy. Quiet beautiful and apparently it’s Justin Beiber at negative warp speed. That’s right. According to the label it’s the teeny boppers track “U Smile” slowed down by 800% to an epic 35 minute Sigur Ros-esque soundscape. You have to sample it to get the full effect of the hype.
A fair bit of what we talk about on here stems from the sphere of Garage, so we thought it would be nice to tip our hat to the roots from time to time and drop a few classics for your reference. First up is a sexy little number from NY house legend Victor Simonelli masquerading as NY’s Finest. “Do you feel me” was originally released in 1993 and helped lay the trail to what many call ‘Garage’.
