Asylum – Exclusive ‘Live From The Future’ Mix Pt. 2

Uprise Audio - Live From The Future

Big up everyone.  Welcome back.

Today marks two important things: the 1 year anniversary of Uprise Audio’s launch and Part 2 of the ‘Live From The Future’ x Bassweight Society exclusive mix series.  Taiko’s contribution for part 1 was an immense display of the heavyweight’s ability to seamlessly blend tunes, as well as the production mastery that continues to push Uprise forward as one of the most promising imprint’s within dubstep.  Asylum follows Taiko’s lead and curates another massive mix jam-packed with VIP’s (including a VIP of ‘Zero Gravity’ off the LFTF LP!) from the man himself and dubs from Biome, Ben Verse and Konvex.  The mix also showcases a healthy collection of tunes recently released, that still pack a punch.

Asylum has had great success since his solo career, taking a breather from the drum and bass alias ‘Vicious Circle’ that had been releasing some of the heaviest nuero-infused 170 tunes to date.  With his signing to Uprise, his recent appearance on GetDarker TV w/ MC Toast and his solo works/collaborations with longtime friend Ben Verse on Crunch Recordings, I think its safe to say that this badman is here to stay, certainly for the near future.

Have a listen below, and make sure you clear enough room to engage in an all-out skank session as Asylum pulls you through a journey of sonic assault.

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Also, don’t forget to check out the ‘Live From The Future’ LP released last month.  Previews and links below.

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The album is available in the following formats:  2 x 12″ Vinyl, Digital, CD

Buy Links || CHEMICAL | JUNO | BEATPORT ||

Uprise Audio || FACEBOOK | SOUNDCLOUD | TWITTER ||

Asylum || FACEBOOK | SOUNDCLOUD | TWITTER ||

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Until next time…one love.

- Kinman

Taiko – Exclusive ‘Live From The Future’ Mix Pt.1

UA LFTF

Big up fam’.

Monday (the 7th) is a big day for the 2012 freshman imprint of the year – Uprise Audio, and for dubstep as a whole.  With a string of releases that have each sat comfortably at the top of dubstep charts across the board, it’s no secret that Edward and Verity have curated one of the most promising musical outlets within the global underground.  Through these releases Dubtek, Asylum and the boss himself, Seven, have left bread crumbs leading listeners through cavernous sonic explorations – all leading up to this.  ‘Live From The Future’ is the imprint’s debut full-length album showcasing a roster of veteran dynamism, pioneering through the depths of dubstep sound design.  The LP welcomes back Asylum, Dubtek, Wayfarer, Chewie, Klax and Seven, while popping the Uprise cherries of Taiko, Truth, Stealth, Altair, and Nanobyte.

To celebrate the album’s release, Uprise Audio artist Taiko has been so kind as to build you (the readers) an exclusive mix.  I’ve been blaring this thing out for the past couple of weeks, and have been genuinely enjoying the top-notch track selection and blending.  I was lucky enough to grab a few words from the badman himself regarding the mix and his beat ‘Spray Can’ that was included on  the LP.  Take a read below!

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Kinman:  EZ Louis, thanks for taking some time out for the readers. Can you tell us a little bit about the mix you have built? Some DJ’s try to facilitate a very calculated energy dynamic within their mixing, while others just blend tunes that sound good together. What’s the story behind this one?

Taiko:  No worries, happy to! Yeah I’d have to say a bit of both to be honest, I wouldn’t say it was calculated that much but I wanted to start it fairly slow and techy, and beef it up a bit towards the end, I guess any form of progression is good for a mix to keep it interesting. But it’s a small selection of my favourite tunes at the moment and you can hear a few of the forthcomings for the UA album too.

Kinman:  It must be an honor to be part of the Uprise family – especially as the imprint progressively garners more respect with each release. How did you get linked up with Eddy and the label?

Taiko:  I first met Eddy about 2 or 3 years ago when I was playing regularly in Sheffield. He came down to play one time and after the night we got talking, swapped details, then I’d send him a tune every now and again. About a year later he came down again and it was about the time he was starting Uprise if I remember correctly so luckily I had my laptop with me and burnt him a cd. A few months and a few tunes later I was brought along so big thanks to Ed and V as always.

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Kinman:  Are there any plans for a solo-release with Uprise in the near future? Any hints you can give us?

Taiko:  Yeah I haven’t got a set date for anyone but early next year I have a 4 track EP on vinyl and digital coming out. I’ve started shortlisting a few tunes so hopefully when the time comes you’ll be getting the best of the bunch, that’s all I can say I’m afraid!

Kinman:  Haha no sweat bro, fully understand!

Kinman:  Lastly, can you tell us a bit about the song you’ve written to include in the ‘Live From The Future’ LP?

Taiko:  My addition to the album is called ‘Spray Can’, and all I can say really is that I tried to write something keeping unconventional in mind. I’ve also had people saying that I’ve sampled a 400ml can for it and this and that but honestly there’s no spray can samples in the entire tune, I only came up with the name for it once I stopped and thought “that sounds a lot like a spray can”. Hope everyone enjoys the album, big thanks to Tyler (Kinman) and all the readers!

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Alright everyone, I hope you enjoy the mix Louis has built!  Below I’ve listed information regarding the LP’s release, including tracklist, Soundcloud and social network links.  Stay connected fam’!

Full Album Tracklist:

01. Seven feat. Joe Raygun – Live from the Future
02. Wayfarer – Reflections
03. Stealth & Altair – Lost Highway
04. Seven and Youngsta – Masai Mara VIP
05. Asylum – Zero Gravity
06. Chewie feat. Mykal Rose – Silver & Gold
07. Taiko – Spray Can
08. Klax – Link To The Past
09. Dubtek – Kuiper Belt
10. Seven & Dubtek – Stratosfear
11. Seven – Walter White – TRUTH remix
12. Nanobyte – Part Of Life

The album will be available in the following formats:  2 x 12″ Vinyl, Digital, CD

Buy Links || CHEMICAL | JUNO ||

Uprise Audio || FACEBOOK | SOUNDCLOUD | TWITTER ||

Taiko || FACEBOOK | SOUNDCLOUD ||

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Hopefully you all have purchased your LP samplers and have had the joyful experience of BLARING ‘Live From The Future’ & ‘Reflections’ as loudly as possible.  If you haven’t, I urge to snag your copy while you still can (limited to 500 pressings) —————–> Live From The Future LP Sampler.

I’ll catch you next time!  One love.

- Kinman

Different Forms of Darkness: Content & Fornax, Vicious Circle, and More.

Respect.  Today is Tuesday and we are now almost through another month.  There has been a lot of really great music being made the past month, as if there isn’t always good music being made at any given point in time.  I think the greatest thing about a lot of the music being made in 2012, thus far, is that boundaries are being pushed and stretched, bringing variety and freshness to the music.  With that said, there has been a lot of overproduction of certain sounds and styles as well.  Anytime someone, or a group of people, start pigeonholing sounds/styles, the once creative and new attribute becomes dull and tired.  Specifically, I am talking about the recent tag of ‘dungeon’ style.  As if that isn’t the most sorry excuse for a genre title already, it has cause a massive insurgence of sounds that sound exactly the same, over and over, over and over.  Don’t get me wrong, I LOVE deep, dark, and weighty music but, that doesn’t permit people to bite others’ sounds and patterning.  There are so many directions you can go with your productions, especially given the space that dubstep provides, so why just imitate another’s music?  It’s one of those things that is beyond me.  The only reason I am bringing this is up to emphasize to those of you that are beginning to produce yourselves, or have been for sometime now, that you must be ORIGINAL!  You need to create things in your own eyes and windows of perception.  If not, your music will drift into the backround noise with the rest of the worlds mediocrity.

Today we have some really heavy tunes to highlight, so hope you’re ready for some pressure.

First track is a forthcoming tune from Ghost Note, due out on Redshift One sometime soon (RS1002).  This track brings some structure-shattering frequencies into our sound fields.  Sci-Fi ambiances ease your ears into the half-step abyss of sub-pressure and minimalistic drum sequencing.  The soundscaping/cinematic aspects of this one give it a mysterious presence while the extremely hard-hitting kick and sub-bass set the tone for the “no mucking about” type business.  Big up to Ghost Note on this one, loads of respect from us here stateside.

Ghost Note – Hyperion (Forthcoming Redshift One)

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This next track comes from the like of Content and Fornax.  These two have just been on a top-notch collaboration binge!  Receiving support from the likes of J:Kenzo, Youngsta, and the US ambassador Joe Nice, Content has been making waves in the scene.  Fornax is another man who you should keep your eyes on with releases such as ‘Reconcile’ on Soul Jazz records.  This new bit, titled ‘Identity’, is one of the cooler tunes I’ve heard this month, hands down.  It has such a bouncy vibe to it while sticking to the deep and dark roots that I love so much.  I would be very surprised if this track didn’t find a home under a label very soon.  Respect to Fornax & Content!

Content & Fornax – Identity

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Up next is a tune from a producer that I really know nothing about.  Just someone that I stumbled across while doing my daily rounds on Soundcloud.  He/she goes by the moniker KFKA and makes some really interestingly deep music.  I see a lot of potential in this artists music.  Bringing dark chants, feedback signals, and unique percussion to the table on this track, KFKA’s style is eclectic and successful.  Be patient and wait for the second drop ;).  This track is also a FREE DOWNLOAD so be sure to snag it on up and give your sincere thanks to KFKA for the giveaway! Download link in Soundcloud bar.

KFKA – Sensations (FREE DOWNLOAD)

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The last two tracks we have for tonight are two from the London based duo, Vicious Circle.  These two have been turning heads non-stop the past couple of months, specifically for their 140 bpm productions.  Putting out some of the heaviest and darkest tunes to date, these guys are sure to see a largely successful year in 2012.  Getting support from Youngsta, Ben Verse, and many others, I’m sure they will be stuck on the 140 business for quite some time.  Both of these releases are forthcoming on Crunch Recordings and should be listened to at extremely high volumes.  First track, ‘Not Afraid’, is a track displaying huge, rolling kick drums and real gritty presence.  Definitely a tune that will pick the energy up in your mix!  The second track, Hibernation, is another big-time roller.  Again with the high energy vibes, this track brings in a taste for some high frequencies, sounding like a mushroom induced laser stand-off.  Lend your ears to both the tracks below!

Vicious Circle – Not Afraid (Forthcoming Crunch Recordings)

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Vicious Circle – Hibernation (Forthcoming Crunch Recordings)

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Stay blessed people!  Hope you enjoyed the sounds.

To the gods.

-Kinman

Killawatt: Exclusive Bassweight Society Interview

What’s up everybody!  We’re back with our monthly interview.  Today, we get words from a man who has established his presence with insurmountable speed.  Killawatt, nominated for best new producer in the Dubstepforum Awards this past year, is on a path straight to the top.  Securing releases on labels such as Black Box/Box Clever, Boka, New Moon, Subway, and DubPride, Matt Watt’s sound has been gaining a really large amount of support from the likes of Youngsta, Thinking, and many more.  All of this action seen has been within less than TWO years!  That is not to say that Killawatt is new to the music scene, though.  He got his hands on his first pair of decks back in 03′, and quickly began to make a name for himself in the jungle scene.  Fast forward to 2010, he is now co-operator of jungle label, Satta Sounds, and continues to carry on that passion.  But, he also gained a strong love for deep, minimal dubstep music.  After gaining his first release on New Zealand imprint DubPride, Matt had decided to part ways with the dubwise tunes he had currently been producing.  After taking classes in soundscaping and sound design he became very infatuated with the appeal of the ambient and cinematic aspects of dubstep.  The rest is history.  Making his debut appearance on Rinse fm in July of 2011, Killawatt has been smashing dance floors with his hard hitting mixing style.   As he continues to build his signature sound he is beginning to slowly drift into a seperate realm of classification. By that I mean that he is pretty much in a category of his own.  On the late he has been fusing a lot of techno influences into his 140 productions and is creating some of the heaviest rollers out there right now.  HUGE rolling kick drums, techno stabs that can make a good girl turn bad, and some of the most well-executed use of bongos the past year has seen, and there has been A LOT of bongo use in the tunes this past year.  His ability to incorporate the multitude of percussive instruments that he does has been, without a doubt, unrivaled in 2011.  Just recently he has had releases on Boka and New Moon and will see one shortly on Wheel & Deal.

Let’s see what the man has to say about the complaints of so-called “purists”, 140 jungle, and who shot Biggie and Tupac.

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BWS:  Alright, let’s get the boring stuff out of the way first.  Can you give the readers a little background about yourself.
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Killawatt:  Ez, I’m Matt Watt aka Killawatt and i’m currently based in Southsea. I’ve been producing dubstep for around 2 years now, dabbled in making scatty ragga jungle before  but never really took producing seriously until i got into dubstep late 2009. 
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BWS:  The percussive elements in your music are unreal man.  This is an attribute of your music that caught my attention when I first heard your sounds, and it has kept me hooked ever since.  Sometimes, in my opinion, people get too carried away with the focus on sub-bass, leaving other elements of the tune sub-par.  The fact that you are able to recognize the importance of each element and then successfully harness that importance is one of the best things about your style.  Do you use a lot of sampling when building your music or do you play intruments live? Or both?
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Killawatt:  I use a hell of a lot of samples for pretty much all aspects of my music. I never really used to be into sampling, probably because i didn’t really know how to make good use of it, but recently it has taken hold of my productions, largely due to the influence of Ipman and renowned sample based producers such as Amon Tobin. Ipman works as a sound designer and sampling is obviously a major part of that so we’re always talking about it and thats influenced me a lot. It’s also because sampling and resampling opens up so many sonic possibilities. You can create sounds and textures that you could never recreate using purely synthesis, the organicism of real sounds provides an extra layer of depth that really lifts the music. I also like the unpredictability of using sounds i’ve recorded myself or that somebody else has, you don’t have complete control over all the parameters so i think it makes me work harder to achieve a sound i want.  I very rarely play live instruments in. I can play the trombone and the guitar and i have recently started using them in a couple of secret side projects i have on the go, its actually been quite inspiring playing them again so i think it is something i will do a lot more of. Over time i’d like to build up a collection of instruments, both common and obscure, so that i can make use of acoustic and electronic instruments equally.
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BWS:  Your turnover rate for tunes is extremely high.  Is production your only full-time job?  If yes, what did you do to accumulate all your studio equipment before beats were paying your bills?
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Killawatt:  Well, i suppose you’d have to call it my full-time job since i don’t have a job and i do it pretty much full-time. That does not mean, however, that it pays my bills! I’m sure i will start to earn a half decent living off it at some point but its hard work scraping the pennies together at the moment. Luckily my parents are very supportive of me so they are helping me get along for a few months until i start earning more from producing/DJing or until i get a job. I’m pretty lucky in that sense really!
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BWS:  As a fan myself, I have a very large respect for the appreciation that you express to your supporters.  Maybe not in a verbose manner necessarily, but in the tunes that you give out for free.  Usually it’s quite obvious why an artist is giving their particular tune(s) out for free; they were old, unfinished projects thrown together half-assedly at the very last moment.  Your free music, however, is of the same top-notch quality as the music you release on respected labels such as Black Box, Boka, and New Moon.  Is this something that you set out to do?
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Killawatt:  I love sharing my music, it gets me into a bit of trouble with my peers sometimes but i write so much music, and so much of it will never see the light of day unless i give it out for free. I don’t see the point of uploading everything i make to soundcloud if half of its never going to get released or played so i may as well give it out. I would never give out anything i haven’t played or know i wouldn’t play so i suppose thats why they are of that quality. The end of last year went a bit over the top with the free giveaways, literally everybody was doing it and to be brutally honest some of the music that got given away from pretty awful, was almost embarrassing.  I’ve already compiled 2 free EP’s ready to giveaway the promote releases this year so you have them to look forward to! 
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BWS:  Lately you have been making tunes that have a more techno vibe to them.  Can we expect 2012 to be filled with releases like these?
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Killawatt:  haha yes you can expect a LOT more like this. Techno is my main passion at the moment so it was always going to filter down into my own productions. I’m not really making your standard 128 4×4 techno, i’ve tried but i can never shrug off my dubstep production so it ends sounding a bit crap. I’ve gone back to the 140 bpm tempo and tried to incorporate aspects of techno into it and people seem to like it so i think i’ll keep making it! I can’t really make half-step anymore, since ive been producing this more upbeat and energetic style, half-step has just seemed a bit labarious and sluggish, theres just not enough energy in most of the stuff coming out whereas with these techno influenced rollers with the big relentless kick drum lines and the pounding subs there is just so much natural energy, you move instinctively to the music whether you like it or not because of the sheer physicality of it and the rhythms that have been engrained in us over the past millenia from ancient ‘tribal’ music. I say ‘tribal’ because there has been a recent trend in everything with one bongo in being tagged as tribal music, its utter rubbish and is something i find pretty annoying to be completely honest. I’ll stop ranting!  Expect to hear plenty more of this sound this year though, either at 140 or 134 bpm!
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BWS:  There has been a sufficient amount of hype surrounding the 140 jungle that is currently being pushed by artists like Arc88, Benton, Dismantle, etc.  What is your take on it?  Considering that you used to produce jungle/own Satta Sounds, do you see yourself putting out tunes of this vein?  Or have you already, and we just haven’t heard them yet?
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Killawatt:  I’m not a fan, although i was smashing Dismantles terrain EP, they’ve got that older jungle aesthetic but with very up to date production and most importantly sound massive through a system.  Again its one of these things where people run out of ideas so they hark back to an older style and then claim its new, most of the time anyway. The majority of it sounds pretty weak compared to actual jungle, with looped 4-bar breaks that have had basically no processing, or have been processed completely wrong. Jungle was well ahead of its time and this stuff just isn’t. The most authentic 140 jungle tune ive heard is Ipmans remix of my track ‘Sidewinder’ that was released on the Black Boxxx series in december, the man knows how to chop up a break or too! I suppose because of my background in jungle i will always have this view. I still love jungle and really miss playing it out, it’s so fun to mix, and a lot more challenging than dubstep in my opinion. I have tried a few times to make jungle again but the production values are so different to dubstep that i just can’t really do it anymore. I’m sure i’ll make it again someday but just not quite yet!  Big ups to the Satta Sounds crew, making big moves in the jungle scene this year!
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BWS:  There has been, among a select population, a growing discontentment for the current state of the genre.  These are typically the people who complain about dubstep not being “underground” enough anymore, or just plain “dead”.  I have a really hard time with those kind of claims, mainly due musicians like yourself, Compa, Phaeleh, Von D, and so many others.  Your sounds are fresh, forward-thinking, and exhibit uniquity, so how someone can claim that dubstep is dead is beyond me.  Where do you see yourself going with your music in the next year or so?  Do you have any insight on where the genre as a whole is heading?
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Killawatt:  Those people need to get a grip on life. This discontentment is something i find very irritating. There is so much good, new music being made and released but these people are either too lazy to go looking for, jumping on a bandwagon or are just bitter. I for one am really happy that dubstep has found the masses. Obviously the biggest crowd pullers are playing the more aggressive and obnoxious style of the sound but who says something isn’t allowed to evolve and adapt? Thats just what the majority are into and fair enough, if they have a good time listening or dancing to it then i don’t see how its a bad thing. Even if just 1% of the people who have discovered dubstep in the last year take the opportunity to delve deeper into the underground then that surely is a good thing? Without it going mainstream, J:Kenzo wouldn’t be doing his Daily Dose of Dubstep on Mistajams show and Skream & Benga would never had got their INDWT show and now their weekly friday night show. They have been representing both the mainstream and the underground consistently on 2 of the biggest radio stations in the country…how can that possibly be a negative thing?!  I honestly don’t have a clue where its all heading, and thats the most exciting thing about it. It will just keep mutating over time, giving birth to more and more different styles. I think dubstep has been a mini paradigm shift in music. Drum & Bass was too much of a clique to really do anything massively beneficial in genre development and house/techno/trance/garage had all gone a bit stale until dubstep came along. Now i think all the genres within EDM feed off each other and thats why there’s so much interesting music being made at the moment, even though a lot of people would say otherwise. Moreover, all genres within the whole of music feed off eachother now, not just EDM.  I see myself just doing what im doing now and hoping things go to plan!!
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BWS:  What should the readers be on the look out for, as far as releases from yourself, in the next few months?
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Killawatt:  January was a fairly hectic month with 4 releases coming out within 3 weeks of eachother. There’ll be a bit of a break now i think. Look out for my 2nd release on Wheel & Deal, my remix of Radikal Guru’s ‘Dread Commandments’ on Moonshine recordings alongside more Radikal Guru remixes by RSD, Hatti Vatti and Adam Prescott.  I have plenty more for the rest of this year already but thats all under wraps for now…there should be some news soon though so hold tight!
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BWS:  Alright, now, just for fun……
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BWS:  Who shot biggie and tupac?
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Killwatt:  MC Hammer
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BWS:  If you were stranded on an island and could only keep with you the following things, what would they be? 1 vinyl, 1 DAW, 1 piece of hardware, and 1 sandwich.
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Killawatt:  The vinyl would be Pink Floyds ‘Wish You Were Here’ – amazing album! Provokes pretty much all your emotions!  Don’t think i’d really be bothered about having a DAW if i was stranded on a desert island. Pretty useless really considering i wouldn’t have a computer!  My choice of hardware would be a solar powered fridge…pretty useful.  My sandwich would be cheese, ham, gherkins, mayonnaise and branstons pickle in homemade white bread! the king of sandwiches!
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BWS:  If you had the ability to make music with one person, dead or alive, who would it be? and what one question would you ask that person?
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Killawatt:  Would have to be Hendrix, he was just a straight up badman! I’d ask why he didn’t read the label on those sleeping pills!!
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BWS:  What would you consider to be the most ideal setting for your performances?  Who would you want to be there?
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Killawatt:  On a beach in the Maldives with my girlfriend, family, friends and all my favorite musicians! sounds like paradise to me!
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We just want to give a massive shout out to Killawatt for taking the time to answer these questions for us!  Respect.
Below you will find links to Killawatt’s Facebook, Soundcloud, and Myspace.  Make sure you check out his music if you haven’t been fortunate enough to yet.  Support the artists, BUY THEIR MUSIC!
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Thanks for reading everybody, make sure to watch this page as we have another great interview lined up for March!  Go ahead, start guessing ;).
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To the gods.
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-Bassweight Society (Kinman)

Serious Bassweight Business

Oi! We’re back again with another installment of some of the finest bassweight business being pushed out right now. Obviously we can’t highlight ALL of the quality material being put out right now but we got some really great music for you today. Trying to keep things fresh we have tunes from all different ends of the spectrum. Everything from vocal-drenched to techno-infused.

The first track is one from a man who has finally emerged out of the shadows, beginning to receive that recognition that has been much deserved for the past 5 years or so. With his debut full-length album due out early April, DJ Madd has been boosting bass bins with his extremely powerful sounds. Having had the support of many of today’s highest caliber producers and pretty much every top-notch radio show, Madd’s presence had become quite the force to reckon with. We have previously highlighted the tune ‘Riginal’ and ‘Deeply’ Ft. Lady Maroo, both part of his album, and today we have another gem from the The Real and The Shadow LP. This one, titled ‘No Tomorrow’, features the unforgettable vocal presence of the one and only, Rebel MC. This tune is an absolute gem so lend an ear!

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Coming at you for the second tune is one from Orientis Recordings label boss, Thelem. This guy makes some of the deepest of deep tunes. The track, ‘Cathetus’, is no exception. Utilizing his skills at incorporating some of the illest growls and horns, Thelem builds this one up to be an absolute smasher for all the heads. The double-kick keeps the energy of the tune high while his master-crafted soundscapes incite some truly eerie vibes through your mind. Big up to Thelem!

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This next bit is another one from our good friends, Truth. I honestly don’t understand how these guys keep putting out the number of bangers that they do. Especially amidst the devastation their home has seen in the past year due to a relentless amount of earthquakes pounding through. These two are a true inspiration. This tune, taken from Yunx’s show yesterday, left me speechless. HUGE rolling rave synths layered up with that wall of sub-frequencies that this duo always brings equates to one of the largest tunes of 2012 thus far. Nuff’ respect!

Truth – Haarp (CLIP)

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Next, we have another huge one from Percept. This track is an absolute skank-out tune! Forthcoming on Innamind, ‘Boxed In’ shows his very promising style and skill. Percept is definitely one of the artists you are going to want to keep your eyes during 2012, he is sure to emerge with a highly respected presence.

Percept – Boxed In (Forthcoming Innamind Records)

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The final bit for today is a production hailing from the hands of LAXX, an Oxford based producer who is bringing a very techno-infused vibe to his tracks. The tune, titled ‘System Meltdown’, comes at you hard with a 4×4 beat that will straight MASH-UP the dance! We have really been feeling this particular vibe that producers like LAXX and Killawatt have been putting out. It’s a really fresh take on things. Have a listen and show the man some love!

LAXX – System Meltdown (CLIP)

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That’s it for today.

To the gods.

-Bassweight Society (Kinman)