Bristol rapper Buggsy links up with two legends of UK Hip Hop, Jehst (Y’N'R) and Farma G (Task Force). Beat duties are handled by The Purist. This is the third single off Buggsy’s debut album The Great Escape featuring production from Skitz, 184 Productions, The Purist, Mr Mitch, Gemmy + Omari.
TWITTER LINKS
Buggsy @bugnum1
The Purist @ThePurist
Jehst @YNRProductions
Farma G @Farmazan
Lewis Charles AKA Gage announces himself with this slick acid rework of his own track, Burnin‘. Take a closer look at his soundcloud and you’ll find some interesting remix work as well as DJ rates around Bristol. One to watch…
Bristol house producer Eats Everything steps up to the plate with his debut release for Claude VonStroke’s Dirty Bird label. Whatever Whatever is the tune for me!
Eat Everything – The Size DB059 by EatsEverything
Eats Everything – Whatever Whatever (DB059) by EatsEverything
Bristol’s Baobinga has released a full length album on his own Build imprint. The album is, bar one track, a collaborative project with a pretty extensive list of UK producers, including Ginz, Hyetal, Guido, Jack Sparrow, Gemmy, Kowton, Mensah, Untold, Roska – you get my drift.
This mix will give you an idea of the inspiration behind the project.
Baobinga PitchforkMixtape by Multiverse
You can stream the album in full over on FACT’s website.
Download this collaboration with Randomer by clicking the link below.
Build are selling the album directly. You can buy it from here.
Bristol’s Guido & Baobinga strike back with two deep West Country cuts on the latest Build release, a label that increases it’s standing with each consistently strong release it puts out. The range of sounds influencing these productions is varied; halftime bpm, African percussion, deep bass. Yet that same breadth of variety is what makes the productions unique to their creators. Great release.
BUILD006 – Guido & Baobinga – Ballin’ / Bumba by Build Recordings
Released by: Build Recordings
Release/catalogue number: BUILD006
There it is. A firm declaration from a well placed protagonist that the super hyped Purple sound is now behind us. Ginz, one of the key players in the Bristol-born strain of Bass, and Multiverse label boss, put this ‘Post Purple’ mix out earlier in the Spring. The kind of statement he is trying to make by settling on such a title remains to be seen, but there is one thing about this mix that is more than clear: It’s tidily tucked-full of bangers. Now, the way things are at the moment it wouldn’t be at all surprising if you missed it, so, for those less punctual on their ‘Post Purple’ uptake we’ve highlighted a few favourites so you can get all familiar like before you nip off to cop the full-whack.
First off it has to be said that Baobinga features heavily in the selection, but very rightfully so as the guy is collaborating on some of the sweetest sounds to surface in a minute. Chow down on this good stuff before you fully lose faith in Dubstep.
Guido & Baobinga – Bumba – Watch for the guitar riffs
Gemmy – Too Far – Big vocal sample
And, although it was out a while back and we blogged about it then, the inclusion of Mensah & Baobinga’s ‘NSG’ merits a little memory jog…. Such a big tune.
Image by Jen Jervis
Really excited about the debut album entitled Broadcast from Bristol’s Hyetal, just released via Black Acre Records. This video (by João de Almeida) perfectly portrays the epic 80s power in the shimmering synth-driven track ‘Beach Scene‘…sounds especially good in this sunny weather:
Andy Mac is a house legend and is internationally known. He has been a mainstay at Cream for many years and has made some pretty amazing podcasts from what I gather, plus he’s a scouser, can’t be bad in my book (YNWA!). Now he has teamed up with Bristol based Punch Drunk, a label known for heralding local talent but also pushing the boundaries in sound system culture in the UK. ‘Everytime‘ is the stand out on the release, great vocal and rolling b-line, a combination that never fails. ‘Asteroid Belt‘ is more of a classic Punch Drunk track in way, deep, dark and techy. Both good tracks form a producer/DJ who is clearly moving into new spaces. Check it!
Andy Mac ‘Everytime’ / ‘Asteroid Belts’ [DRUNK022] by stholdings
Those of you who’ve spent time in Bristol are likely already familiar with Buggsy. For those of you who aren’t, I believe this is his first video and I doubt it’ll be the last.. Keep an eye out for this guy, I reckon we’ll be hearing from him in 2011
Bristol’s BS5TDOT links up with Birmingham’s Gorilla Sawn-Off AKA G.Rilla. Hard.
Back in London, some good rappers coming out of North Weezy recently, in particular A Team‘s Squingy and K Koke. I must’ve listened to this cypher every day since it got put up. Squinge is the truth!
Money is my first love, and money keeps on taking the piss, in and out my life whenever she like…
Oh what, your feeling this? Have some more then.
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
Black and whites in music are irresistible. Indie and dance. Rhythm and melody. 4-4 and broken beats. Even though some of the above are arguably the same meta category (the big one, er, ‘Africa versus Europe’, ‘black versus white’ if you’d rather) they’re still useful in defining some sort of polarity that tells us who we are, what we like.
Problem is, increasingly the black and whites that I used to depend upon are deserting me in favour of a confusing agenda of preferences made up of other prejudices: memory and nostalgia, shock and awe, plain old quality. When you no longer fall into any of the camps around which popular music forms its allegiances you need to find an agenda for every circumstance. The one on my mind right now is head vs body. This one I reserve these days for nightclubs, particularly Berlin’s Berghain (a body club in every definition).
On last visit I was struck by how listless the crowd at the club’s top room house outpost, Panoramabar, seemed compared to the ruthless clarity of purpose evident on the main Berghain dancefloor. I’ve always enjoyed Panoramabar; it does housey decadence with more class and intelligence than most places. At its best it’s a place where hetros happily rub shoulders with exhibitionists, muscle Marys and the club’s obligatory weirdos. Where you can sashay around with a rum and coke at some ridiculous hour, get offered fresh fruit at the bar, exchange beatific grins with fellow late night travelers and whoop and holler your way into the next evening. All this listening to sets by Carl Craig, Andre Galluzzi, Efdemin. Bliss.
But nonetheless, it’s always been a more blood-pumping experience for me plunging into the quadrant of Function One piled high in Berghain. Down here you don’t just sashay around elegantly wasted, you tend to jump up and down or stand mesmerised in the mist. The music isn’t appealing to your head, your waist, your ego. It’s after your body, your Id. It’s primal. It’s body music. And the body music that thunders through you from that incredible soundsystem is, of course, largely driven by pile-driver 4-4s.
Increasingly, though, the DJs entrusted with that floor – the Marcels, Ben Klock, Norman Nodge – are looking to the broken grooves of dubstep to punctuate their strain of intensely reduced techno, finding in it the scale and physicality the space demands. Scuba, who runs Berghain’s regular dubstep night, Sub.stance, is charting a perverse mirror of their journey as his production and sets become more and more pinned around the metronomic 4-4. Surely it’s no coincidence that this dancefloor is the common ground of all these experiences.
So, with the polarities slowly dissolving but dubstep and techno still just flirting with each other, trying to figure out how to reconcile their differences from Bristol to Berlin, it may be a safe bet that the answers reside in the body and not the head.
YO! Hello from Copenhagen people… I have wanted to do something with Tom Scott, a friend over at Chemical records, and was talking to him before Christmas about bits and bobs. After chatting I realised that it was Chemicals 10th year as an online store (pretty good going if you ask me) and that now would be a good time to ask him some questions. Watch this space as Chemical and Get Some may have something up their sleeve for 2010! So here is the interview, hope you enjoy. Thanks very much Tom!
PEACE&OUZO!
Who are you and what do you do?
My name is Tom Scott and I’m responsible for marketing at Chemical Records. I’m involved in too many things to list them all here, but mainly focus on music-related fashion marketing, PR and advertising. If you’ve ever seen a Chemical Records vinyl giveaway on Dubstep Forum, that’s me as well.
Where are you currently based?
I live and work in Bristol. Bedminster, South Of The River.
When did you first get involved with music and what were you doing?
Chemical is actually my first music industry employer. Before I came here I was running the show online at Drooghi, which was a great menswear retailer in Cardiff.
How has the music industry changed since you first got involved? In your opinion, has the online revolution has a positive effect on what you do and the music industry?
I think the biggest change has been the shift in importance for artists of live performances over record sales. It’s something that many DJs and producers have known for years now: record releases are important for establishing your name, DJ sets and live PAs bring in the regular income.
As for the online revolution, I think the general assumption that digital music sales are killing off vinyl couldn’t be further from the truth. Being an online vinyl retailer allows us to sell to scores of emerging markets and our vinyl sales are stronger than ever. That’s the real benefit of the internet on the music industry, it’s opens it up to many more talented people who never would have had a look in previously. If you’re making great music, geography shouldn’t be a limiting factor in getting it heard.
It wasn’t very long ago that the music industry pronounced vinyl dead. In the last couple of years digital music has begun to find its feet, how has this affected your business and has vinyl made a comeback?
Vinyl was and continues to be the foundation of our business. As I mentioned in my previous answer, the internet has allowed us to sell to a number of countries that most people would have dismissed offhand if they didn’t know any better. Hopefully, access to our music has been a contributing factor in the growth of their local scene.
Do you find there to be a prejudice against DJ’s who use MP3′s and is software like Ableton Live bridging the gap?
I think it’s a fairly typical response to new technology, especially when the existing way of doing things has been around for so long. Personally I think once people realise the versatility these digital interfaces give you they’ll be more open to them. I know guys in the US like Starkey work closely with manufacturers on testing and development and speaking to Starkey about it, he’s said it’s opened up so many more options to him in terms of the music he can play. What DJ wouldn’t want to broaden their range, increase the number of bookings they can get and the number of people they can play out to?
What can we expect from Chemical in 2010?
2010 is the 10th year of the Chemical website, so we’ve got one or two things lined up to mark the occasion. Without going into specifics and giving the game away, we’ve got a number of products and events coming that are going to make this a year to remember.
If your career in music was to end tomorrow, what would you do instead?
If wasn’t working in music or fashion, I’d like to think it was because I’d gone off in a MK1 Range Rover to build a vineyard in the Cornish Riviera.
Who should we be watching in 2010?
Kastle, Mensah and Cosmin TRG are the three I’m watching.
Kastle is a new project from B.Rich that’s remixing and producing on a Roger Troutman/Zapp level.
Mensah is H.E.N.C.H.’s prodigal son. I’ve been lucky enough to see him go B2B with Jakes at Run and you feel the future of this music’s in safe hands!
TRG needs no introduction – he’s one of those very lucky people that can turn their hand to any style of music and produce amazing things.
And finally, please complete the following sentence…
GET SOME… Sun!
http://www.chemical-records.co.uk
