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Photo by Laurance Von Thomas

It’s easy to forget that Endgame’s self-titled breakout EP was released halfway through 2015 — just under 19 months ago. It’s easy to forget because the London-based artist is on a hot streak that few can match and is a veritable star in late 2016. Endgame arrived in May ’15 with both immediacy and a fully formed vision, full of tightly coiled dembow structures and vocal assists from friends and collaborators Blaze Kidd and Uli K. It was around that time that a loose network of artists began to come into focus, based around parties and labels like Principé Discos, Swing Ting, Staycore and Endgame’s own Bala Club, and pushing a distinct combination of South and Central American and Afro-Caribbean sounds. It’s a network that can be understood more for its influence than for any concrete geography or genre connections, influence felt in the saturation of everything from dancehall and reggaeton to baile funk and candombe.

At its roots, Endgame’s sonic approach is firmly rooted in hybridity and his slick tracks rarely fit into the constraints of the Caribbean rhythmic patterns he draws from or the London reference points found on tracks like “Tears on Road” and “Sittin’ Here Redux”. That hybridity is born out in emotional content, a balance between aggression and delicacy that mines states of confusion and contradiction as much as it does love and warmth. Fans of the Precious Metals show on NTS, helmed by Endgame in tandem with a new, on-the-cusp guest every show, will recognize that hybridity, fully realized in a roughneck blend of reggaeton, road rap and the latest industrial-tinged sounds from a global cadre of producers and vocalists. Guests like Washington D.C.’s Rules, Berlin’s Nightcoregirl and New York’s Geng form another network comprised of artists pushing the very limits of club music functionality and one that can increasingly be found at club nights the world over.

Releases for PTP and Hyperdub, as well as several key contributions to the inaugural Bala Club compilation, formed the backbone of Endgame’s 2016, cementing an unmistakable sound and catapulting out of the relative anonymity of the underground club world. Long touted by insiders as one of the best DJs London has to offer, 2016 was also the year that that reputation became international, largely due to a standout contribution for FACT and the continued excellence of Precious Metals. Many try, but few attain the level of elasticity and flexibility embodied in an Endgame mix, not so much journeys through his mutating aesthetic as fuil on inundations. Astral Plane Mix 133 is no different, over an hour of balls-to-the-wall energy, a sprint through unheard original material and work from likeminded producers including Astral Plane Recordings artists Exit Sense and Nunu. Savage and Flesh will go down as two of 2016’s most important releases, establishing Endgame as one of the most admired and imitated producers anywhere and offering as clear of a distillation of club performativity as you’re likely to find. Stream Endgame’s Astral Plane mix below, download here and hit the jump for a full track list.

 

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In recent years, Paris has become home to some of the best parties in the general club music sphere, becoming an outpost for artists big and small to play out. The result is an ever-growing circle of producers and labels developing their own sound in the French capital, a sound that might be 100% unique to France yet, but that is certainly on its way to idiosyncrasy. Tommy Kid’s [Re]Sources label is a prime example of those developments, an operation that grew out of the party series of the same name and has featured artists like Chaams, Nunu, Dehousy and She’s Drunk on its compilations and solo releases. Lil Crack is the latest artist to join the [Re]Sources ranks, coming through the dancefloor-focused Inner Flight EP, four sleek, cutting original efforts joined by remixes from Endgame, Spooky and Pixelord (catch the first two at [Re]Sources tonight in Paris). “Tactical Violence” is the most stripped back, minimal of the release, three and a half minutes of ratcheting percussion and trap shouts that seem to reach into the deepest recesses of the body. Most dance music is programmed to elicit a certain emotional/corporeal response from the listener and Lil Crack’s arrangements on “Tactical Violence” are a perfect example, matching raw energy with a call to arms felt in both sonics and naming language. Pre-order Inner Flight here, out December 9 on [Re]Sources.

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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.