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Buyer Rating: 92.2% positive (51 ratings)

Noah D / OSC (2) - Polizia RMX / Dreadlok - 27-Jan-09 09:31 AM
I love this tune, the A-side Polizia is good solid dubstep, nice little drops and a good ol raggary vocal. Nothing amazing but solid floor dropper with a nice bass skank.

The B-side though hits me hard its like a calypso drum party, steel drums a plenty and another mega bass line. The tune just makes me think of sunshine and thats no bad thing. Some would call it a bit cheesy, i says its happy!

Debaser Vs U-Ome* - Mood To Kill - 11-Nov-08 08:57 AM
Debasers mix of this possibly has one of the heaviest jungle drops ever (even if its only 30 seconds into the track). Im in the mood to kill a sound, champion sound a throw them down! it drops like an oft-kilter aphex amen over some nice reggae lines with a stuttering i-i-i-i, proper good.

The tother side is good too, more conventionally mixed up but still chops and changes they criticize but they dont know me. You can tell its a good tune because if you listen to it all the way to end it gets better all the way through, each new drop bringing a new beat into the scenario. Backward beats aplenty and crazy arabic flute lines.

I love Debaser, he rules.

Bug, The Feat. Killa.P + Flow Dan - Skeng - 04-Nov-08 05:55 AM
Killer 12 from the peerless Hyperdub label. The Kode 9 mix is one of the most sonically devastating pieces of wax ever. Its starts with a foreboding beat that seems to have Japanese people saying Kode 9 in mad voices before it goes You dont want to see me get evil. Which is what it does, of course!

Then it drops and my oh my what a drop, this is as killer as killer gets really. Screaming space synths and a great flow from Flow Dan and Killa P. This one dedicated to all bad man whether from Manchester or London, you know wha to do.

Buy, listen, dance! (Like a maniac).

The bass is so heavy its like some fusion between Garage, dub and crazy electro that is pulled off with such aplomb im still breathless. And the track just never sits still with the two vocalists exchanging verses over a constantly changing background.

Boom, boom, boom bass.

Long may Hyperdub reign with forward thinkin intelligent yet grimey dance floor bombs such as this, respect is due.

Antennae - Water - 28-Jun-08 04:29 AM
Antennae is all about the beats. The instrumentals are sublime; true future looking hip hop without any cliche loops in sight. Destroy this is a slightly gritty track but with an awesome dipping and straining hook to mellow out the harsher high snares. For me its the Light to Light (instrumental) that really is the peach, its a soaring work of rising and crashing spacey synths that will still get your head nodding in a b-boy fashion. Its so fresh, yet its so hip hop, its sort of draws a line between Prefuse 73 and good ol fashioned normal hip hop but has retains so much soul. It sounds as organic as a good cup of cha, I would talk about the words but I havent really listened to them. So on the strength of the instrumentals alone, top choice. You can mix it with hip hop, you can mix it with chill out, its unique sounding yet wholly traditional.

Sabres Of Paradise, The - Haunted Dancehall - 06-May-08 08:08 AM
A review on the CD version of this album doesnt seem to be very positive so I thought Id give the other side of the fence so to speak.

An eccentric oddball of warpy alien wallpaper chimes, this is one of my favourite albums of all time. Very few dance albums have really fully cut the mustard in terms of having enough decent material and a proper structure too the tracks, this is one. The textured cover showing a red razor blade shows it all, these are clinical beats backed up by some of the most inventive use of synthesisers I have ever heard. The feel here is classic Weatherall; however the almost band like quality does shine through from all four members.

To be fair though this is an abstract album, the obviously dubbed up undertones mean that the tracks go on for quite a long time with only subtle alterations (not for everyones short attention spans!). Some tracks dont even really go anywhere but just act as a build up to the preceeding track, drawing you in to a world of glitchy beats and then declining a resolution only to hit you with a further prolonged build up on the next track. In my world though this adds to the atmosphere as youre drawn down a dark street with only a the sound of a distant scraping noise to reel you in until out of the next alley you see a multicolour rainbow of sound realisms (my personal interpretation of the brilliant 8minutes + soundscaping of the Ballad Of Nicky McGuire).

In my opinion this stays so true to dub, it offers the listener sometimes the most basic of sounds. Allowing the listener to draw imaginary connections and in essence read between the lines of the beats. When the beats give way to a fully blown melody, as in dub, the melody is bought to the front and allowed full control of the track.

The classic Wilmot has one of the best rewinds in the history of music (as well as a huge low slung blissed up and spliffed up bassline), Tow Truck has a dark menace that hints at the big-beat future of the mid-90s and Haunted Dancehall is probably the darkest tune to ever make it on to an Ibiza Chill Out CD and a stunning closer to the album.

An album of a million and one possibilites; where the space between the music is often more important than the music itself.

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