The last installment in the remix series from Scuba, high anticipation and expection. I’ve been thriving the remix releases and they are all so good.
This part of the series is the least dubstep influenced of the three with a remix from Marcel Dettmann and a alias from Scuba. Keeping things straight forward and putting the subtle changes in focus, this defines one of the many roots to techno-dubstep.
Starting off with Dettmann’s remix which turns out to be just excellent. He threw out most of the elements in the original and reduced it into a core of powerful techno, letting only slight changes progress in the track and focusing on the smallest essences. Together with a haunting atmospheric pad and subtle bleeps the beat is delivered perfectly.
SCB, a new alias from Scuba, takes ‘Hard Boiled’ into a different direction and morphing it into a more forward groove. This track has an entierly different vision from the original which takes the track into a different direction. This release is made for the Funktion 1 soundsystem and both Dettmann and Scuba seem to have this in mind when making the remixes.
Hate is back on it’s third release, and this one is a bit closer to a more industrial and techno-ish sound, and much more melancholic and dark – easily the darkest and maybe the best release on the label.
The A side has a broken but firm groove with that exceptional bleep similar to the B-side of Seldom Felt 1 and the likes of it, keeping things steady on the floor. Essential tune for the winter!
As for the B side things get a bit more junglist and more to the side of dubstep, introducing a killer synth melody that goes through a tripping avenue making you close your eyes and keep your feet moving until it’s suddenly 7 pm.
Not much else can be said – just check this one out if you are fast enough. They will probably be all gone tomorrow…
Skull Disco is the label that resides Shackleton and Appleblim in it’s underground lair. Their complex structure of the tracks they release are a symbol of style for the label, as well as renowned and crowned by lots of producers in various styles and fans all over the world.
The first release was a misprint with reversed center labels, different mastering and without a sleeve. These were stolen from Shackleton’s apartment while he was moving. The remaining 60 copies he dug up from his basement are now limited editions. This tells at least me, that no matter what both Shackleton and Appleblim will find a way to cope with unforeseen things – which probably is the result of the Skull Disco label.
Since the first half of releases on the label (that when looking back makes you understand the evolution in both Shackleton’s and Appleblim’s sound) the overall quality and bravery in the tracks goes to a steeper and deeper wall of sound. Introducing T++ as a remixer on the latter releases was a genius move if you ask me that together with the original and fresh production on the A-sides took things to an entirely new level. Ricardo Villalobos had the honour to remix ‘Blood On My Hands’ which brought the original to (impossible enough) a more trippy atmosphere and wobbly attitude.
Together with funny and sometimes uncomfortable artwork (music isn’t about standing still and getting safe!) and weird release names, Shacky and Appleblim have made a truly unique footprint in the myth- and dubstep area alongside the more experimental sides of techno.
Skull Disco are now closing down. This is for me really sad as it is one of my absolute favorite labels. But things aren’t just going to fade away.
The last release is a double CD entitled ‘Soundboy’s Gravestone Gets Desecrated By Vandals‘, with all the original tracks from SKULL007 and forwards, together with an incredible remix CD as the second disc. This will probably be one of the most important releases of 2008.
A review will be posted when the time comes. Remember to get all the Skull Disco releases on vinyl before the masses finds out they’re closing down!
A new release from the Boomkat/Modern Love guys – just as good as usual!
There has been a lot of discussion whose behind this production. Some say MLZ and Andy Stott and others say 2562 and Martyn. Either way, this twelve is so good I don’t really care actually!
‘Black Hammer’ has a Martyn-ish style with a sawing synthline that together with a vocal sample makes this track essential. The fast paced unexpected use of the samples keeps you hooked as the track progresses – weirdness in a really good sense.
‘Gunshot’ is much darker production that resembles a bit of Shackleton and a bit of some nice dark techno, the synths sounds like raindrops over a deep, deep bassline with a kick that just drowns in all the sounds that are falling in from everywhere.
The second installment of the remix series from ‘A Mutual Antipathy’ is here! This time Martyn from the 3024 label and Jamie Vex’d from… eh, “former group” of Vex’d have done the remixes on the slower and calmer tracks from the album.
The original version of ‘The Upside’ sounds a bit like a dubbed out Phil Collins track from the 80′s. Martyn redefines the entire structure of the original and places the elements from it into a post half-stepXtechno hybrid which does not only bring forward the melancholy of the original (hence the ‘Down’ in the track name, eh?), but gives it the space it deserves rather than making the track slower (as Scuba did with his original). The original version has it’s charms in the honest emotions Scuba clearly put into it, making Martyn’s remix great in an entierly different way – which to prefer is actually based on mood of the moment here.
Jamie Vex’d has made an really great effort here – a crazy wobbly drunken dubstepped out broken track, which at first seems a bit stupid. After the second listen you get to know it a bit better and realize that it’s really, really good. In contrast to the original they sound like two completely different tracks, which is good news for me since I had a hard time appreciating the original on the album.
The previous poll (see here) is at 50/50 right now. I’ll let it be open until 1st December.
The Futurist is about 3 weeks old now and I was wondering what kind of content you would like to see here? The reviews are taking up a lot of the content and it would be nice to put in some other stuff as well.
If you have any ideas, please e-mail me at either noah.gibson<at>gmail.com or thefuturistmusic<at>gmail.com.
You can always drop a line in the comments as well.
PS. Thanks for all the feedback and comments, I do read them and love to do so. Keep ‘em coming!
What I admire with some of these new labels (such as Hotflush, Apple Pips, 3024 etc) is that they do what no other label dares to do – they take a little bit of this and that, putting in a truckload of soul (or lack of soul if you’re seeing it differently), having not to compromise and just let the groove go.
About half a year ago Scuba’s album ‘A Mutual Antipathy’ got out. It didn’t just feature a really good album name, but also a lot of great tracks. Since then he has released a single from the album and this remix single. The remix singles will be released in three parts with an CD album with every remix (and vinyl aswell I think) and digitally as well.
This is the first vinyl with remixes of the remix album and features Surgeon and Substance. Just looking at the tracklist makes my jaw drop.
Surgeon’s remix keeps the power from the original mix of ‘Ruptured’, but he pushes the more danceable atmosphere of it into a deeper techno groove – while keeping the essential industrial parts of the original. Filling the gaps between the broken beats and melodies with his trademark percussion and drums, he redefines the main melody’s structure making it much, much darker.
Substance with his Dub Version removes most of the originals wall of sound, but replacing it with a drenched beat and a more dubbed out melody that lies just beneath the bassline, creating an babylonian monster that won’t be taken by anything else than 21 inch subs.
This is a really good first record and I can’t wait for the rest of the remixes (especially the one with the Marcel Dettmann remix).
A while back there was a lot of noise (literally) about the new rave music and culture. I never really got into understanding what it really was more than the annoying sides of it – the bad music and the annoying crowd of it. The thing is there is no new rave. Rave is here and has been for the last decade – there hasn’t been anything new with it – until now.
Zomby usually makes dubstep/junglist grooves, but this time he’s made a CD with tracks that pays hommage to his youth. Air sirens mixed with stab pianos and energy so intense it will knock you off your office chair. Merging the usual ingredients in old school rave music he puts in sounds that resembles old Nintendo machines and SID-chips, fusing them together in a way that doesn’t perforate your eardrums.
Usually I get tired of air sirens and too much “in-your-face” attitude, but this release is something special. Zomby has an ear for when things are getting a bit too much, that keeps his tracks always on the right side of the line. This makes me believe that he is capable of transforming the ancient ways of rave into the sound of the present without destroying or taking too much of either one – a perfect blend more or less.
It’s hard to judge this release at home since it’s obviously meant to be listened at in a warehouse or similar, but trying to be subjectively objective as possible and visualizing it in it’s proper environment I can honestly recommend this one.