New Music


Despite recently signing with London heavyweights Hyperdub, Endgame’s Precious Metals show continues to be one of the best incubators of young talent, featuring everyone from Kamixlo, MM and Rabit to N-Prolenta, Organ Tapes and, recently, Purple Tape Pedigree boss Geng. Usually splitting up the hour slot equitably, Precious Metals is consistently one of the best hours in radio, featuring plenty of forthcoming material and private material from Endgame himself along with the guest sessions that more often than not are must listens. Last week’s show featured French producer Nunu and as per usual it shows off an exciting talent, this time with some forthcoming material on Astral Plane Recordings. Alongside gritty tracks from Exit Sense, Why Be and Lotic, Nunu’s “Punani” sits comfortably in the brooding mix. Look out for more news on “Punani” soon and check out the full show with track list here.


Originally tipped off by Brainfeeder don Iglooghost, we’ve been looking forward to Kai Whiston‘s debut for the past few months and local Los Angeles outlet TAR will be letting it all out on June 17. Teenager producer narratives are overwrought, but the fact that Whiston is only 16 is unavoidable, especially considering how fully formed the Houndstooth EP is. Iglooghost’s manic take on beat scene, rap and grime tropes is certainly a reference point on Houndstooth, but tracks like “Spick & Span” (debuted by Mary Anne Hobbes a few months back) and “Melville” have a sound all their own, submerging oddly familiar vocals under dense miasmas of reckless noise, framed by outsized building block percussion. We’ve got “Melville” on premiere today, the EP closer and the most delicate track on Houndsooth, matching reverb-heavy piano with swirls of what sounds like planes taking offs, dense feedback loops and a distant ragga vocal. Whiston’s songs aren’t easily appraisable on first or second listen, but after running through Houndstooth five or six times the vocals feel familiar even through the dense matrix of reverb and samples layered over the top.


Having performed on the Overdrive Infinity platform and contributed a track to SND.PE VOL.05, Loom’s alliance with the Sound Pellegrino family feels about as natural as an artist-label relationship can and on June 3 he’ll be releasing the Burnt Glass EP through the Parisian outpost. Comprised of three stunning originals and remixes from Le Dom, Lloyd SB and DolineBurnt Glass is another huge notch in the Suffolk producer’s belt, continuing to blur the lines between experimental weightless forms and breakout club material, all with sonic palette that is quickly becoming his own. Burnt Glass is at times delicate and at times full throttle aggressive, subverting listeners’ expectations with rapid switch-ups and a sort of manic sound design that sounds as fresh as ever.

As far as out and out dancefloor efficacy goes, “Hardest In The Year” might reign supreme and Parisian producer Le Dom has offered up an expertly crafted flip of the track, reinforcing the original’s metallic framework without succumbing to industrial austerity. Having previously released on Liar’s club tool-focused Tessier-Ashpool label, as well as placing “Bayern” on SND.PE VOL.05, Le Dom is perfectly primed to take on the peak time energy of “Hardest In The Year” and by stripping back some of its more consuming elements the sharp edged percussion and bleeping melodies are allowed some refreshing space. Burnt Glass is out June 3 and can be pre-ordered here.


Concept releases are relatively common-place in the world of electronic music, but entire labels based around specific concepts and/or alternate realities are still relatively rare. That’s where Galtier’s Nostro Hood Systems steps in; endeavoring to realize what music would and could sound like in an alternate galaxy of their own creation. Intending to build out the framework (“lore” in their words) over time, the label arrives with the Nostro Hood Anthem EP, produced by Galtier and friends and accompanied by three remixes from Sylvere, Strict Face and She’s Drunk. Full of agile rhythms and dance-forward structures, the single matches disorienting shamanic chants with 808 heavy percussion, the resulting concoction perfectly primed for peak time club play. We’ve got the Strict Face remix on premiere today and the Australian producer has smashed up the NHS Allstar’s original into a hydraulic-loaded grime monster, driven by an forcefully twangy bass line that seems to eat up space even as brief moments of silence provide respite for the listener. To top off the package, the indomitable Rachel Noble has provided fitting cover art for the release, offering up a spectacular visual analogue to the sonic machinations of the crew. Nostro Hood Anthem is out digitally on June 20.


A regular at Los Angeles’ Cybersonic night, Farsight has been busy as of late, co-founding the Big Sigh Brat Club label with Botaz and Ballast, receiving play from the likes of Mumdance and Blackdown and preparing his debut EP for the Bristol/Birmingham-based Prjkts label. Widsom will arrive on May 23 and sees the LA-based producer step into exciting new sonic territory, matching springy melodic portions with his predilection for prickly, hi-tech club output. We’ve got “Faded Memory” on premiere today, the EP’s opener and one of Farsight’s more delicately composed efforts to date, a track built around a slippery synth melody that almost hypnotizes as the song progresses and skittering pots and pans percussion. Remixes from Luru of Nervous Horizon and Prjkts’ own +/- round out Wisdom, which functions as an excellent introduction to Farsight and a promising start for the label.


Across releases for Coyote, Local Action and an excellent self-released EP (all in the last six months), Abeedeen-based T_A_M has shown off an ability to excel across a number of genres of styles, traversing from funky lo-fi house to cut up 8 bar grime and beyond. Neither Watty (Coyote) nor Silk/Sweat (Local Action) came off as anything but natural though and despite working in so many different sonic realms, T_A_M maintains a level of comfort and a low-slung consistency across all of his work. Next Friday (May 13), he’ll release his debut album, titled In Tandem, through Druid Cloak’s Apothecary Compositions label and the results are rather stunning, seeing him take a step back from the dancefloor to approach various ambient, new age, grime and pop tropes from an impressively delicate, immersive perspective.

We’ve got “Bleak End” on premiere from In Tandem, one of several album highlights that, like much of the more abstract material on Gobstopper, could very loosely be called grime, but is about as far removed from the genre’s roots as you can get while still maintaining a few recognizable motifs. Kicked off with reverb-heavy piano and a sickly sweet vocal that sounds like it’s coming from a child, “Bleak End” is the type of sad song that lets your thoughts wander as the piano melody seems to wander off, only drawn back in by the whip cracking sound and lightly throbbing sub bass. It’s angelic without being corny and classically beautiful without coming across as morose all while balancing a very contemporary sound palette with a structure and atmosphere more befitting of a post-rock album. In Tandem is out next Friday and the good people at Apothecary have pressed the record up beautifully so go cop that and enjoy “Bleak End” in the meantime.


Having previously plied his trade as a drummer, beatsmith for rappers and emotional producer extraordinaire, Chants is something of a musical polymath and while his work extends into a number of cultural, geographic, social, etc. contexts it always seems to push boundaries and ask questions. The Zookeeper is the Madison-based artist’s latest work and we couldn’t be more excited to release this outsized, bludgeoning, heaving piece of club music. It’s certainly not a release for the faint of heart, but if you’re ready to have your organs and or blood-brain barrier reorganized then this is the release for you. The Zookeeper is out now on all digital streaming and download platforms and is probably already in the darkest rave near you. We’ve also just launched a revamped Astral Plane Recordings website, designed by Sam Meier and featuring an incredible, synapse overloading music video for “Crushed Lollipop” by Isaac Chabon. It’s our goal to offer up a complete a/v experience and the sheer physicality of Chants’ music was the perfect opportunity to institute that vision in full.

double clapperz

Write-up and interview by Julien Breistroff.

Given Japan’s reputation for fostering niche cultures, and considering the nation’s decades-long relationship with reggae, it should come as little surprise that UK dance/bass music has found footing on the islands’ shores. Though Japan’s presence in dubstep may have come sooner – with Goth-Trad and his Back to Chill imprint and night – its grime scene has slowly grown to establish itself as the most cohesive representation of the genre in Asia. This status was recently cemented when Elijah & Skilliam tasked stalwart local MC Pakin with assembling an all star crew of Japanese grime MCs and DJs to record a showcase set for Butterz.

Among the artists featured on the resulting mix was Double Clapperz, a Production/DJ outfit consisting of Sinta and UKD. The duo have steadily made a name for themselves over the last few years, their tracks being played by a number of distinguished grime names. Spooky in particular has supported them since early, though Murlo, Boofy, and Impey have certainly helped to get Double Clapperz’ music played on radio and in mixtapes for Rinse, Radar, BBC Radio 1xtra, and Fabric. Coupling traditionally jagged grime drum patterns with a meticulously crafted low-end, their sound is as conscious a nod to grime as it is to soundsystem culture more broadly. The pair have worked extensively with local MCs and can count themselves among the most prominent contributors to Tokyo’s grime scene. With a white label dropping this June and the spotlight on Japanese grime growing ever brighter, Double Clapperz are poised to help bring their scene to the attention of grime fans globally.

Never straying far from the customary 140bpm, Double Clapperz’ Astral Plane mix progresses at a blistering pace, quickly and deftly blending their own brand of abrasive precision with hollow weightless cuts, dubstep, and hints of dancehall. Filled with unreleased beats, bootlegs, and exclusive vocal tracks, the mix is a thrilling glimpse into Japanese grime. Familiar ground is also provided as the duo pepper in released material from the likes of Commodo, Kahn & Neek, Ishan Sound, Murlo, Terror Danjah, and the Boxed crew – as well as an Astral Plane favourite, Last Japan’s forthcoming “Ascend” featuring AJ Tracey. We had the chance to ask the guys a few questions over the internet, and their responses (along with a tracklist) can be found after the jump/below the fold. In the meantime, turn your subs up and travel from Bow to Tokyo with this lesson in Far Eastern bass.

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Having already contributed an Astral Plane mix under his Roller Track alias in Summer ’15, our affections for Fisky are well documented and whether the Moscow-based artist is working as Roller Truck, Fisky or 297787, his stripped back club efforts almost always hit the right spot. On May 16, Frolov joins the Hyperboloid Records roster with the Traektoria EP (12″ / digital), a six tracker dealing in various contemporary and nostalgic club mutations. At this point, it’s not always easy to distinguish where the Fisky, Roller Truck and 297787 projects all begin and end and Traektoria could conceivably fit under all three, full of rave stabs, punchy drum programming and a generally ominous atmosphere borrowed from various strains of the hardcore continuum. Intended to “[create] a personal cyber club for everyone,” Traektoria will be accompanied by a VR 360 video and is apparently the result of an extended stay away from club spaces for Frolov. We’ve got “Diesel” on premiere today, a dense number built around a brassy, foghorn-esque sound that plays the sub bass roll while febrile claps, 808 bells and ha chants drive the top end of the productions. Like his work as Roller Truck, Frolov draws from a number of trans-Atlantic club forms on “Diesel” and whether it builds up a cyber club space for everyone it would go off IRL in most clubs. Check out “Diesel” below, pre-order Traektoria here listen to previews of the full release after the jump.

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Coming off the back of a second Boiler Room appearance, this one facilitated by Teki Latex, London’s Nervous Horizon crew is riding high, seemingly popping up on hotly tipped label’s release schedules and remix packages everywhere while continuing to settle in on their own crew/label-specific sound that’s becoming increasingly unmissable with every new release. Meanwhile, the Infinite Machine outfit has continued its upward swing in 2016, releasing an exciting debut from the Tropical Waste representing Iydes and a startling, drop-heavy EP from WWWINGS. The Montreal/Mexico City-based label’s next release comes from Los Angeles-based Alfred English, a graphic designer and producer who has plied his trade in the slick web-centric art and the artificial strains of metallic club music over the past few years.

Taking on English’s “Piston” from the EP of the same name, Nervous Horizon members Tsvi & Luru, who are quickly becoming a formidable duo, have flipped the relatively straightforward original into a towering effort that alternates between breakneck four-on-the-floor sections and brass-y, larger-than-life interludes. With its laser and pulse sounds, pumping sheet metal percussion and Godzilla’s arriving horn work, the London-based producer’s take on the original borrows from a number of recognizable tropes from the past few years, but by virtue of compiling them in such a complex, enveloping manner the two succeed in making the track well more than the sum of its parts. Piston, which also features remixes from Patrick Brian, WWWINGS and ETEVLEH is out on April 29 via Infinite Machine.