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GLACIAL SOUND ART

If you’ve been following the deluge of “new wave” grime round-ups in recent months, the name Glacial Sound will be quite familiar at this point. Often lumped in with fellow upstart outposts like Goon Club Allstars, Coyote Records and Liminal Sounds, the Dublin-based imprint only has two releases to its name to date, but label-head Paul Purcell has flipped a keen eye for talent and an adoration for vinyl into a groundswell of UK and international support. Launched last June via Rabit’s now scene-defining Double Dragon EP, Glacial Sound is nominally a grime label, but if you’ve spent any time with the aforementioned Rabit release or Murlo’s highly touted Last Dance EP, you’ll know that Purcell’s vision far surpasses anything that could traditionally be dubbed grime. Double Dragon is a spacious effort that derives much of its sound palette from Wiley’s Devil Mixes, but exists in a protean universe of wildly twisting melodic content that defies its influences. Hailing from Houston, Rabit exists far from grime’s epicenter, but has managed to funnel some of its most left-field elements into a final product that eschews the more stultified components of the original product.

Whereas Rabit has developed and maintained a sound that is mutually exclusive in its own right, Murlo has synthesized the bright sound palettes and skittering rhythms of Caribbean music like soca and dancehall into an ornate, fully original byproduct. More than just about any other producer, Murlo’s music, especially Last Dance, mirrors the multi-cultural, multi-denominational  nature of contemporary London.

Both Double Dragon and Last Dance have created a sustainable platform for Glacial Sound and the future seems bright with an upcoming Rabit & Logos white label in store. In a remarkably short time, Purcell has attained what most labels struggle over for years: an idiosyncratic identity. For Astral Plane Mix 018, we asked Paul to showcase Glacial Sound and to give our readers a taste of what he’s listening to at the moment. The result is a whirlwind journey through the kaleidoscopic sounds of London and grime’s various mutations. We also asked Paul what he likes to listen to when he’s on the go as there is a certain sense of movement (or lack thereof) that is inherent in the Glacial Sound aesthetic. Check out Paul’s addition to our guest mix series below and hit the jump for his on-the-go selections and track list.

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LOGOS MIX ART

Dusk & Blackdown’s Keysound Recordings label functioned as a home for experimentation and left-field recordings for the past several years, churning out more than their fair share of seminal records. With the recent spate of grime “revivalists” (sorry) in mind, the label has released the likes of Visionist, Rabit, Moleskin and others, preferring a sub-freezing, enveloping take on the traditional sounds of Wiley, XTC and Musical Mob. While their are more than enough examples to choose from, Logos‘ 2012 Kowloon EP exemplifies the brittle, yet protean sound that the aforementioned producers, Keysound and, especially, Slackk’s monthly mixes have come to exemplify. Crystalline in nature, Kowloon has been compared to the piano compositions of Phillip Glass, relying more on wispy melodies than on machinegun snare bursts or patois banter. 2013’s Cold Mission LP (also on Keysound) acts as an apogee of this sound, an exquisitely constructed 11 song album with several collaborations and out-of-nowhere interruptions to keep the listener on edge.

At this point, we’ve left it to other, more talented writers to espouse the venerable qualities and inherent frigidity of Cold Mission, so instead we reached out to the man himself (born James Parker) and asked for a contribution to our guest mix series. After a few months of emailing back-and-forth, we wrangled the following 30 minutes of hazy techno, forceful drum tracks and 90s Memphis rap. The track list has been left intentionally vague, but if you’ve been following us, you’ll surely recognize a few choice cuts and will surely recognize more as they emerge (or not) in the future. Enjoy.

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TRAP DOOR ARTTrap Door doesn’t make trap — which is, well, a good thing. Instead, Manchester-based Connor Shepherd constructs exquisite club compositions while applying a stripped down, retro aesthetic to contemporary dance music. As part of the Gang Fatale collective alongside the likes of past Astral Plane mixer Neana, Ra’s Al and Georgia Girls, Trap Door is at the forefront of the percussive, linear club music that draws from both sides of the Atlantic. At times, Sheperd sounds like he’s channeling the spirit of Arabian Prince, infusing euphoric synth melodies into a melange of abrasive kicks and snares. Other times, he’s clearly looking to the Atlantic seaboard, utilizing vocal cuts, “ha” samples and kick patterns from Baltimore, Philladelphia, Jersey and New York. The Trap Door sound is decidedly fresh and new, but always emits a cool, calm and collected attitude that transcends the ephemeral qualities of the club trax format.

For his Astral Plane Mix contribution, Shepherd condensed the essence of Trap Door into a single, easily digestible document. The mix exists in a world where Drake spends most of his time driving up and down I-95 in a wretched, hydraulic-laden abomination and gun fingers are the common currency. If the think breaks don’t rile you up, the “ha” samples surely will and the calls for bad mind and worst behaviour will finish off the job. Hit the jump for a look at the track list (you might just discover a few gems) and stream/download below.

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keyboard kid cover artIf you frequent this corner of the internet, you’re almost surely familiar with Greg Phillips aka Keyboard Kid aka WaterGod. Best known for his work with Lil B, Seattle-based producer has reignited the instrumental hip hop flame in recent years, instilling a sense of precocious positivity in the often-times staid community. A Based disciple to the fullest, Keyboard Kid has been churning out an almost insane amount of music over the past several years, releasing esteemed solo tapes on Donky Pitch, Automation and Mezzanine, as well as contributing dozens of (sometimes uncredited) beats to Lil B. Need we say more.

Already busy with a new puppy, the WaterGod let loose 37 minutes of narcotizing, all-original beat work for the 14th Astral Plane Mix. Matching soporific melodies with sharp snares and crackling feedback, Phillips effortlessly matches an off-kilter Based approach with a sleek, sci-fi aesthetic that constantly appears to be on the verge of implosion. The mix is chock full of exclusive material so take a gander at the track list after the jump for a taste of what 2014 has in store.

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ghost mutt artIn a 2011 interview with Knowledge Magazine, Ghost Mutt refers to the process of falling backwards into hip hop and R&B, a process that is likely relevant to many of our readers. Instead of listening to new jack swing in its heyday (he was 10 years old after all), the Brighton-based producer took a roundabout route that involved deconstructing two step and garage tracks and searching out their sample sources. He took a similar approach to hip hop, ingesting Four Tet’s Madvillain remixes before delving into the vast remainder of the genre. This deconstruction-based approach is readily apparent in Ghost Mutt’s music today, a rollicking, technicolor fun fest that touches on dozens of genre motifs without ever settling on one. A member of the eclectic Donky Pitch party crew/label, he makes music (ostensibly) for club play alongside producers like Slugabed and Lockah, bouncing between trans-Atlantic reference points with the confidence of someone who fully understands the material he’s regurgitating, but doesn’t have the patience to focus on any singular sound.

“3310” is the standout track from Ghost Mutt’s recent Rumble Pak EP (his third on Donky Pitch) and encapsulates his kaleidoscopic approach to music better than any track he’s previously released. You’ll hear Lex Luger’s signature build up, a bed spring sample and reverberating bass drum hits. You’ll recognize a brief Lil Wayne sample and the extensive use of vocals from Blackstreet’s “U Blow My Mind”. The track starts, stutters and stops, contrasting wildly percolating melodies on top of each other in reckless fashion. In the end, the only coherent components of the song are the heavily pitched down vocal  asking “what’s all the commotion about?”. It’s a beautiful mess that works not because of the chaos of its individual components, but despite it.

Despite touching on an unspeakable number of styles and genres, Ghost Mutt’s Astral Plane mix actually comes off as more cohesive than his individual productions. There’s no point in listing off the names involved as Astral Plane readers will likely recognize many of them, but in effect, the mix trapezes itself across the modern club landscape, involving a number of producers who also invoke a scatter-blast ethos in their music. After running through the mix’s 60 minutes, you won’t remember where you began and likely won’t have any semblance of an idea of where you finished. It’s discombobulated entertainment that is beyond definition and summarizes Ghost Mutt and Donky Pitch’s anti-monolith attitude. Stream/download the mix below and hit the jump for a look at the track list.

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akito art FINALIt’s not always easy to decipher the intention of a piece of electronic music. Sometimes, a vocal sample  (e.g. “jack”) or the basic structure of a song gives it away, but sometimes four-on-the-floor beats and grueling sub-bass timbres deceive. That being said, Sub Skank boss and London-resident Akito’s music is very clearly, specifically focused on the dancefloor. Whether the context is a push club, a derelict warehouse, or a manic house party, there will be no head-bobbing or shmoozing while an Akito joint is played out. Like many of his contemporaries, Akito takes a little from the video game sound palette of Eski, a little percussion from jungle and/or Jersey/Bmore and mutates it into a pounding, dancefloor beast. It’s foot stomping, wyle out music that is at once easily accessible and eminently strange. Maybe it’s the ballroom “ha”s or the or occasional patois vocals, but despite the innate heaviness of Akito’s productions and mixes, it all seems like a rather fun, approachable affair.

This certainly manifests itself in Akito’s Astral Plane mix, one of the most effortlessly fun collections we’ve featured to date and a rare taste of what Akito the producer has in store on his upcoming Metamessage EP. With a peppering of originals and tracks from Astral Plane favorites like Neana, Rushmore and Jam City, the mix summarily hits a near-perfect club music sweet spot, offering something to nearly every brand of discerning listener. Stream/download below and hit the jump for the full track list.

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hrdvsion cover art

A few months ago, Nathan Jonson aka Hrdvsion posted a remix of Carly Rae Jepsen’s “Call Me Maybe”, which quickly began making its way around Internet circles, drawing both predictable ire and joyful admiration. Many first time listeners might have assumed that Jonson was just another Soundcloud denizen, striving for quick, shocking results, but that would short-change both the man and the remix. The fact that the remix spread so quickly (Skream picked it up early) and garnered Hrdvsion so many new fans is a testament to both the relative insularity of his music and its innate demonstrative capabilities. Nathan and his brother Mathew (Wagon Repair boss and minimal impresario) grew up in Victoria, B.C. on Canada’s Western shore and have virtually been inundated in electronic music culture their entire lives. Fast forward a decade or two and both brothers now live in Berlin, collaborate often and strut their unique take on Berlin’s own techno tropes on labels like Rinse Recordings and Crosstown Rebels.

Never one to be defined by the genre/sound he’s currently working in, Nathan has produced and performed at every conceivable BPM, imprinting his reticent outlook on everything he touches. His Astral Plane mix exhibits this in oft-unbelievable fashion, opening with Boyz II Men and finishing with FKA Twigs, a bevy of curve-balls thrown in for good measure. The rhythmic components range from the understated to the bombastic while the melodies are brightly timbred and infectious. With a decade-plus career under his belt, it’s clear that Nathan has no interest in slowing down or muting his past, present and future influences. Which brings us back to the “Call Me Maybe” remix. Hrdvsion is the rare breed of producer willing to walk the line between idiosyncratic experimentation and populist relatability, bringing a live performance ethos and rich musical history into modern dance music.  Stream/download Hrdvsion’s guest mix below and hit the jump for the full track list.

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strict face cover art

A few weeks ago, Wiley ignited a debate regarding the distinctions (or lack thereof) between grime and hip hop via his Twitter (as he’s prone to do). The conversation over whether grime is more firmly placed in the hip hop continuum or the hardcore ‘nuum has raged since the London sound’s arrival in the early 2000s and while authoritative sources like Wiley have had their say, the answer is ambiguous at best. A more prescient conversation between hip hop and grime has arisen (or at least been given its fair due) over the past few years and it’s one that focuses not on genre semantics, but on finding new ways to incorporate tropes from both sounds into exciting new hybrid tracks. This conversation is largely held in London and hubs of American club music like Newark/New York and Chicago, but some producers who reside outside of those meccas have taken it upon themselves to stretch, reorganize and, in some instances, rip apart the line (real or imagined) between hip hop, grime and R&B.

Hailing from Adelaide, Australia, Strict Face is an exemplar of the genre blurring, blueprint trashing ethos laid out above. It’s difficult to pinpoint exactly when we fell in love with Strict Face’s music. It could have been when a friend sent his Velour/Ciara bootleg our way. Or maybe it was when we found out he produced Le1f’s “Autopilot”. Regardless, we’ve been smitten ever since and have consistently rated him as one of the more convention-less, innovative producers in the extended grime world. For the 10th edition (!!!) of our guest mix series, Strict Face laid down nearly an hour of club-ready material, matching ethereal melodic content with the heft of tracks from JT The Goon, Air Max 97 and Blackwax. While largely composed of what is commonly considered to be instrumental grime, the mix traverses effortlessly into the R&B and hip hop realm, matching vocals from the likes of Tinashe and A$AP Ferg with the clicks and bass stabs that pervade the eski style. In the end, Strict Face falls more towards Kelela or Murlo than Ruff Sqwad or Roll Deep, preferring to update the sounds up yore with modern signifiers than purely channel the originators. Stream/download the mix below and hit the jump for the full tracklist.

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rushmore art photoshop2

It’s always interesting to witness disparate (in both a stylistic and geographic sense) musical scenes interacting, referencing and building off of each other. It’s also no surprise that we’re big fans of collaboration and intertextuality in these parts so you can imagine how pleased we were when Trax Couture bossman Rushmore agreed to contribute to our guest mix series. On his own time, the London-based producer makes machine music pure and simple. Rushmore’s tracks are industrial in nature, drawing on London’s ‘nuum fascination to bring together grime, dubstep and techno. He also draws much inspiration from Chicago and New York, specifically the sharp, linear lines of ghettotek and the lewd abrasiveness of ballroom, both of which are clearly apparent in his productions and mix work.

Lucky for all of us, his second 12″ (also the second in Trax Couture’ss HOT series) will be released in early December. You might recognize “Bloodlines” from Neana’s guest mix last week and the rest of the EP follows similar contours, repeatedly throwing jagged rhythms and undulating sub bass at the listener. To celebrate the EP release, the House of Trax folks (Rushmore and Fools) are throwing a party in London with Georgia Girls. The function will occur on December 6 at Birthdays and is sure to feature plenty of choice cuts from the HOT crew. Stream/download Rushmore’s mix below and hit the jump for a full tracklist.

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neana art FINALDrum tracks are simultaneously primitive and futuristic, drawing on both history and an admirable refusal to kowtow to the past. Modern drum tracks often utilize breaks that are decades old, but sound like nothing ever heard before. Over the past few years, labels like Night Slugs, Hessle Audio and Keysound Recordings have been delving into the realm of drum tracks, their respective artists massaging the ‘nuum sounds of grime, jungle and techno into a whole new beast. Peverelist, Pearson Sound, Objekt and more have set the pace for this fresh, percussive sound, but lately a new crop of producers, Akito, Visionist and Helix to name a few, have taken the torch and ran with it. Today we’re focusing on London-based Neana who’s garnered quite a bit of attention in recent months as a constant fixture in Bok Bok’s Rinse.FM mixes.

Drawing on a wide range of influences including noise act the Fuck Buttons and jazz drummer Roy Brooks, Neana has honed his ultra-percussive sound through a series of bootlegs, taking on the likes of Kingdom, Dizzee Rascal and Kanye West. As for Neana’s guest mix, it’s a 45+ minute exhibition through kicks, snares and breakbeat science, broken up with Jersey club and ballroom. Neana draws from American and British producers equally, amalgamating the wildly popular sounds of London with the still relatively insular sounds of Chicago, Philadelphia, Baltimore and New Jersey. Check out and download the mix below and hit the jump for the track list and Neana’s favorite drum tracks. We bet they’ll surprise you in the best way possible.

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