Tag Archives: Night Slugs


Throughout the recent FADER cover story on Gucci Mane, themes of work and work ethic are persistent, providing a constant throughout the Atlanta rapper’s many ups and downs, prison sentences and creative high water marks. Regardless of how much Guwop’s life spiraled out of control in the period before his most recent prison sentence, he was still constantly in the studio churning out track after track. Young Thug credits Gucci for imparting his indefatigable work ethic on him and it’s hard not to imagine that his mixtape-a-month release schedule over the past decade or so has changed rap for the better. Born in Newark, but now residing in Los Angeles, DJ J Heat seems to approach Jersey Club in a similar manner, tirelessly working on his own bootlegs, collaborating with MikeQ, Brenmar, Gianna lee and K-Shiz and continually refining an approach that is simultaneously one of the hardest and most heterogeneous approaches to club music.

J Heat’s work ethic, and immeasurable talent for that matter, hasn’t gone unnoticed and in the coming months he’ll release his debut on London’s venerated Night Slugs roster, a rare US signing for the Bok Bok and L-Vis 1990 headed crew that felt like a comfortable fit even before it became official. After all, some of J Heat’s most successful remixes are of Night Slugs hits, from a much rinsed take on Kingdom’s “Stalker Ha” at the end of 2014 to a brilliant refiguring of Bok Bok and Kelela’s “Melba’s Call”. And beyond the relatively standard remixes of major rap and R&B hits, J Heat has remixed M.E.S.H. (twice), Tokyo Hands and Art of Noise, showing a willingness to experiment with contemporary material and left field samples that calls to mind early Bmore and the bizarro footwork of DJ Nate.

Having produced his fair share of ballroom and footwork, as well as work with vocalists, it would be diminishing to refer to J Heat as strictly a Jersey Club artist, but there’s no doubt that it’s what he excels at and puts the most time towards. 2012’s “NJ Transit Rhythm”, one of J Heat’s few original compositions to date, is a case in point, a sparse construction based around a distant train whistle that bangs as hard as anything to come out of Newark in years and maintains an eery presence throughout. With artists like DJ Sliink, DJ Rell and Nadus making waves across the US and internationally, the idea of a Jersey Club producer breaking out is far from unheard of, but despite his incessant work rate, J Heat has taken a more patient path, eschewing questionable labels like Dim Mak and Mad Decent in search of a more idyllic fit. In Night Slugs, he’s seemed to find that and while his debut for the label will likely bring a new fan base and critical acclaim it’s clear that it won’t be the beginning or end for J Heat.

10849746_10152865488578162_6861941952480507144_nThis Saturday, Atlanta’s Helix and Chicago’s DJ Manny will take over Chinatown’s Shambhala Lounge this Saturday (1/10/15)! RUN, Juke Bounce Work and dirtRAID are pitching in to throw the event and will be accompanied by residents from Phuture Perfect and States of Being. The meeting of Night Slugs and Teklife has come together before in London and New York and it’s a pleasure to bring it to Los Angeles. Come Saturday, Helix’s raw analogue workouts should pair perfectly will Manny’s percussive 160 blasts, cold-as-hell footwork, Atlanta rap and the finest in Dance Mania, Trax and Strictly Rhythm 12”. The dirtRAID folks have blessed us with a pair of tickets for Saturday’s happenings and all you have to do is enter your favorite Dance Mania 12”. Whether you prefer early 90s Robert Armani streakers or Rashad’s Double Cup, we hope to see you out on the dance floor this Saturday.

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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jam city

As one of the kingpins of the Night Slugs empire, Jam City has been given a lot of leeway in the past to experiment and to postulate on a number of different sounds and concepts. His debut album, Classical Curves, was a dense and often difficult to digest, but after multiple listens, a largely rewarding listening experience. For his most recent Night Slugs release, Club Constructions Vol. 6, Jam City dispensed of much of his conceptual arsenal and instead turned in five straightforward-as-hell drum tracks that just might be the most impressive of the series. It’s some of the best club music of the year and has endless playback qualities, not an easily attained combination. “Bells” is a track that (somehow) didn’t make the cut for Vol. 6. Like the other five tracks, “Bells” is a stripped down drum track, accented by charm-like synthesized bells. It’s also currently up for free download so listen below and head here to snag the track.


Straight out the fucking dungeons of planet Night Slugs (from the Fade To Mind galaxy), London’s L-Vis 1990 and Portland’s Massacooramaan have conjoined to form Vissacoor, a joint venture that is certainly more man than machine. If you haven’t noticed, the Night Slugs and Fade To Mind camps have a penchant for collaboration and this Thursday will see Vissacoor come together in New York City for a special live performance alongside a stacked lineup that includes Rinse.FM founder DJ Slimzee, Total Freedom, J-Cush and many more. “Spectral Evidence” is the first track from the duo and is currently up for free download. It’s a dense, dark affair so prepare yourself before listening. Stream/download below and check out the show flyer after the jump.

From the opening salvo of “Night Slugs in this mothafucka, Fade To Mind’s in this mothafucka”, the listener pretty much knows what they’re getting into with L-Vis 1990’s NSMIX002: 70 minutes of the eclectic, mind melting jams from the foremost purveyors of club music. The mix was recorded at Dubspot NYC and features several unreleased L-Vis originals and remixes as well as an unreleased Bok Bok/Tom Trago collaboration and Girl Unit’s “Double Take Pt. 2”. L-Vis keeps it in the Night Slugs/Fade To Mind family for the most part, rinsing tunes by KW Griff, MikeQ, Jam City and more. Stream and download the mix below and peep the tracklist after the jump.

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So the TNGHT (Hudson Mohawke + Lunice for those living under a rock) EP saw its American release today. Instead of an album review (words don’t do it justice), we’ve decided to compile a little retrospective on British producers lending their talents to American hip hop. In an interview with FACT last month, Lunice had this to say:

We’ve been doing this shit for years, and it’s not like we’re new or anything, it’s not like we’re new money shit, it’s not like we came out of the blue and we blew up like crazy. We’ve built a whole foundation of our work. So it’s about that time. I feel like that sort of movement is backed with all of our homies together, like: “This is us! You can’t do this shit! You can’t just take our ideas and come up with it all after all these years. We’re coming for you!

Clearly, Lunice believes that American hip hop producers have been misappropriating hip hop-indebted UK bass for a minute now and are taking a stand. While I don’t think Toomp and Hit-Boy are listening to too much Mount Kimbie, I get it: Lunice has a persecution complex… just kidding. With the EP set to take the States by storm and the duo’s remix of Flocka’s “Rooster In My Rari” igniting the interwebz, it’s easy to see where Lunice’s frustration is coming from. As the UK sound constantly progresses into exciting new territories via labels like LuckyMe and Night Slugs, American producers are often too content to find a sound and stick with it. As a result, some of the best interpretations of American, especially Southern, hip hop have come from British producers. TNGHT might be the apex of the trend (yes we know Lunice is Candian), but many other (mostly) pasty perpetrators have attempted to freshen up Stateside hip hop tropes, both new and old. This is not meant to a comprehensive review, because that would be impossible. It’s just a list of a lot of really fucking good producers remixing a lot of really ignorant hip hop music.

Dubbed by some as the “British Diplo”, it made all too much sense for Sinden to host volume two of Mad Decent’s Free Gucci series. The Burrrtish Edition features 16 remixes of Mr. Radric Davis’s trap anthems, courtesy of a  coterie of revered Brits: HudMo, Rustie, Melé, Mosca and Toddla T just to name a few. Predictably weirder than the Diplo hosted Volume One (with the exception of the Flying Lotus contribution), the tape is an exhibition in low end sounds with varying levels of success. HudMo’s take on “Party Animal” essentially spawned TNGHT, is utterly playable to this day and should probably soundtrack your next night of drunken shenanigans. Melé also wins big with his wonky reinterpretation of “Missing” from The Appeal: Georgia’s Most Wanted (a largely overlooked Gucci project). Stripped down and menacing, “Missing” is a precursor to some of Melé’s more recent Soundcloud uploadsBurrrtish isn’t much of a cohesive project drawing from every realm of bass music, but who cares when HudMo, Melé, Rustie and Sinden bring the collective heat?

Download: Sinden Presents Free Gucci 2:The Burrrtish Edition

Hit the jump for the rest of the retrospective…

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The good folks over at Night Slugs have been unstoppable in the month of April. Kingdom’s US imprint Fade To Mind debuted its LA party to celebrate the first release from Rizzla. Label head L-Vis 1990 featured in the brand new “Club Constructions” series, featuring “tracky material aimed straight for the dancefloor.” L-Vis and Bok Bok have released a number of remixes including an excellent take on Surkin’s “Gold Island.” Today, the label introduced a new mix series, each volume acting as a sort of  “DJ’s manifesto.” Bok Bok is the first featured DJ and predictably trends to the grimier side of the Night Slugs catalogue. The mix is Night Slugs heavy, but who ever said that was a bad thing? Stream and download the mix over at Night Slugs headquarters.