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Loefah
Real Name:
P. Livingston
Profile:
Dubstep producer from South London, runs the Swamp 81 label.
Sites:
Aliases:
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Loefah Discography
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Reviews & Discussion
martynpepperell
Feb 18, 2011
Loefah is without a doubt a bastion of dubstep. His contributions to the DMZ imprint could be considered key moments in the evoltuion of the genre; whilst his remixes for Skream (on Tempa) and his recent Tectonic outing only serve to enforce this belief.
'Bass' is the primary function in his productions and with tracks like 'Goat Stare' and 'Ruffage' this can be heard to full effect. Bass is used to drive the tracks forward unceasingly, whether it be stabs, drones or squelches, the bass is relentless.
Unlike other producers (Skream, N-Type, Caspa and Pinch to name but a few), Loefah's bass excursions don't venture into the wibbly wobbly sub-aquatic realms. Instead they attempt to shatter the listener's rib cage with frequencies that could be used by French riot police.
It is interesting to compare his earlier production outings on Big Apple and the Grime compilation for Rephlex with his later efforts:
It's obvious from tracks like 'Jungle Inflitrator', 'Indian Dub' and 'Fire Elemnts' that he has a keen ear for rhythms, but we are yet to be fully exposed to "that" bass sound, which is (for better or worse) now considered his trademark. But these earlier rhythmical experiments(?) have helped him forge a sound which encapsulates crisp and clipped ethnic/tribal beats with bass sonics that verge on the brown note.
My eyes and ears are constantly peeled for any new bass from P. Livingstone and I strongly urge people to sniff them out at all costs too.
'Bass' is the primary function in his productions and with tracks like 'Goat Stare' and 'Ruffage' this can be heard to full effect. Bass is used to drive the tracks forward unceasingly, whether it be stabs, drones or squelches, the bass is relentless.
Unlike other producers (Skream, N-Type, Caspa and Pinch to name but a few), Loefah's bass excursions don't venture into the wibbly wobbly sub-aquatic realms. Instead they attempt to shatter the listener's rib cage with frequencies that could be used by French riot police.
It is interesting to compare his earlier production outings on Big Apple and the Grime compilation for Rephlex with his later efforts:
It's obvious from tracks like 'Jungle Inflitrator', 'Indian Dub' and 'Fire Elemnts' that he has a keen ear for rhythms, but we are yet to be fully exposed to "that" bass sound, which is (for better or worse) now considered his trademark. But these earlier rhythmical experiments(?) have helped him forge a sound which encapsulates crisp and clipped ethnic/tribal beats with bass sonics that verge on the brown note.
My eyes and ears are constantly peeled for any new bass from P. Livingstone and I strongly urge people to sniff them out at all costs too.
LOEFAH Interview