Toyo Tomi

Sinjin (Barcelona via Montreal) had spent a great deal of his time and energy throwing some of Montreal’s best parties, bringing big names like Brenmar, Canblaster, Jacques Greene to a small bar in the city, with either very little or no cover charge at all! This was made possible in cooperation with friends and collaborators Azamat B (ITFW) and Markus Garcia (LOL Boys).

The Lights EP impresses with opening tune “Shadows”, acting as a wonderful welcome for a new hero. There are sounds of crowds chanting and clapping alongside royal trumpets, drum rolls, and a beautiful harp before everything slowly evolves into beat-filled champion-themed brawl music.

Literally treated like a mini-album, this release is complete with intros, interludes and outros while holding a unified tone (in a consistent, yet, far from monotonous way). Expect to hear heavy bass and splattered hip-hop/R&B beats over triumphant horns and shimmering synth samples that sound like they once belonged to a magical casino on top of a brilliant snowy mountain. The perfect example of this genius is found on Crystal Dust, a song so good it could probably make Hud Mo jealous.

Out December 5th on the ever-rising label Pelican Fly, The Lights will do much more than simply carry Sinjin through to the next level of recognition, you can expect it to boost him to underground stardom! In fact, “Like That” (a three minute dance floor murderer) has already been getting huge support and was massively thrown down in Mele’s set at Boiler Room. This track is so powerful in such a small window of time, it’s just begging for a back spin!

01. Nicolas Jaar - WOUH

02. Faib - Out of Space

03. Dark Tantrums - Unborn

04. Las - Memories

05. Benton - Sleepless

06. Compa - Dreams

07. Komonazmuk - Underground

08. Dark Sky - Totum

09. Adam F - Aromatherapy

10. Bachelors of Science - Strings Track [Apex Remix]

11. Commix - Untitled (Sep 06)

12. Danny Bird - Amen Alley

13. Foreign Beggars - What’s Good feat. Lazer Sword

SOARING LIQUID! Big plump beats from our favourite Russians. SECRET WEAPON.

An essential new Tectonic drops here, the fourth in their ten inch plate series, and with barely weeks until their crucial Tectonic plates 2cd lands, pressures are mounting. Hijak shows that the label’s roots are like family, for Hijak is in fact none other than Skream’s elder brother of Inta Natty fame - an original junglist crew which also featured Bailey and Grooverider! Mister Fleming is evidently comfy with the break, lovely round drums spooked by the necessarily nightmareish strings, with awesome bass dragged through the dirt. Huge tune. Flip for Armour, an adoptive guise for Roly from Vex’d showing if it were possible, that bristolians are becoming even darker in their predilections. Increasingly drawn to the chaotic drone spaces and dark corners, “iron man” hoves into view gradually, like the enormous ocean liner siren which will initially shred your head in a dance situation.

Impeccably effective Mosca moves on Numbers, his debut for the label, and - it’s hard to believe - only his 2nd solo single to date! It’s now nearly two years since the London-based producer kick-started the Night Slugs label with his ‘Square One’ ace, and in the meantime he’s continued to establish a reputation as one of the capital’s finest selectors, running everything from Bashment to Techno in his beloved DJ sets while notching up celebrated remixes of Four Tet and T. Williams, among others. For this outing he’s in lean and mean 4/4 mode, finding his crux betwixt Bassline Garage and loved-up ’90s House vibes for ‘Done Me Wrong’, and again with the deft skip ‘n parry of ‘Bax’ and its rudeboy East London warehouse flavours.

Due to ridiculous demand from a ravenous dubstep audience, Hyperdub finally do the right thing and issue 3 of the best tracks from the now legendary Burial album, with the added bonus of a hot bashment remix of ‘distant lights’ from label head Kode 9. The remix of ‘distant lights’ morphs the original’s blissed melodrama into a usefully squelchy hot stepper, optimized for maximum club effect, rectifying a common gripe for many lesser skilled DJs that Burial’s material just isn’t mixable (practice mate!). The real good stuff comes with the original mix of ‘distant lights’, the instantly recognisable opener to many heads soundtrack to the summer, cruising into sight with a bilious bassline, pregnant with rarified mood altering substance only found in the most particular compositions. The vinyl cut here only adding to its towering majesty, each crackle and snare bite amplified for full effect. The same applies to the much needed vinyl cut of ‘pirates’ on the flip, whose initial bass drop hits twice as deep as the CD version, precipitating the irresistably swung steppers rhythm writhing about sacred spaces populated with spectral MCs and bassbin emissions of raves gone by. Taking us to his final resting place, ‘gutted’ emotes a mournful sentiment, perhaps best spun at a wake when all the dancers can muster is a heads down shuffle in honour of the dearly departed. In lieu of any new Burial material in the near future, this will have to satiate your appetite for now, but needless to say, this should leave you feeling fat as f*ck.

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The title cut here is an immense underground tune, mercury bass styles, quicksilver minimal rimshots - a tempo redolent of a possessed drive out of the city. Weakhearts may find it just a little too dark - we’re just simply blown away by the exhilaration this music provides, a whole new dimension of dub. “Southern Comfort” again has an almost liquid feel, but wields an enhanced and brutal bass presence, the hi-hats are choppier, messier and this lends a disorientating feel to the delayed pyrotechnics taking place somehwere above and inside your head. ‘Broken home’ is perhaps closest to the half-speed mesmeria of ‘Sign of the Dub’ from the first ten inch, a delightful lick of dancehall vocal, more for melodic purposes than anything else, and a heavily muted trumpet sounding for all the world like miles. The most other-worldy tune ushers in a percussive shaker with chasm deep breakdowns ‘Nite Train’ is tougher then you ever expect - providing a great counterpoint to the female vocal and echoing mayhem of effects.

Title track from Gangrene’s upcoming album “Vodka & Ayahuasca” dropping January 24th.

Red hot future Techno from BNJMN, backed with an outstanding Andy Stott remix. A-side, his original ‘Nightvision’ is a real dancefloor weapon, mixing malleable, warped Garage bass with mechanised House rhythms at a heads-down Techno tilt, kinda like some Si Begg or Cristian Vogel ace updated with a deadly 2011 flex. On the flip, Andy Stott does his throttling, squashed and heaving overhaul, smacking the tempo down below 100bpm and submerging the whole thing in refracted dub chords and a mad bass-blurred patina evoking the most lost-in-it 5am moments. Unmissable, really.

Han är nykomlingen som branschen satte klorna i innan han hann släppa detta mixtape. Han skrev på ett kontrakt värt 3 miljoner dollar med bolaget RCA Music Group efter att bara ha släppt två låtar från skivan, och när tredje låten släpptes ingick han samarbetsavtal med stora namn som Drake och Jim Jones.

Nu när mixtapet är ute börjar man ana varför. ASAP Rocky är prototypen av ett hiphopbarn av vår tid. Hans uttryck och musik är rätt i tiden, lagom progressiv med tillräckligt många referenser till hiphopens rötter.

ASAP Rocky är både nervkittlande och en nostalgitripp. Hans oansträngda Harlem-rap blandad med ett mer melodiöst Houston-sound är lika sjabbig och rännsten som fräscht, och framförs lika ofta i helsvarta luvtröjor som i kläder med inslag av gälla neonfärger. Det är lika oldschool som nyskapande med lika många blinkningar till den klassiska sydstatshiphopen som till M.I.A.:s alternativa elektroniska toner. Det här är mörk och magnetisk “drug music” som tillfredsställer både hiphopskallar och hipsters.