So in the midst of the year end craze, take a minute to load up Brandub’s latest mix into your iPod. This hour of genuine dubby euphoria lift us many strata away from any superfluous concerns. Brandub applied his craft in his home studio, in the city of Cordoba, Argentina. His debut EP on Airdrop last year displayed Brandub’s inclinations clearly – a warm, comforting sound oscillating between deep house and dub techno.

We also take on this opportunity to announce that Brandub’s next release on Airdrop is now mastered and ready. The ‘Bank Side EP’ features three originals and a Beat Pharmacy take realized by Mr. Brendon Moeller. This project is set for release towards the end of January, bringing an extra layer of warmth in the middle of the cold winter. Kick back and relax!

This episode features Barrington Levy, Om Unit, Coralcola, Andre Obin, Sigmafly, Superliminal, Eric Van Aro, Marco Finotello, Meesha, Weight and Treble, Shinigami San, Burial, Essay and Village.

Download format : FLAC

(Thanks RV for finding)

Dadub is a meeting of two minds, Daniele Antezza and Giovanni Conti, a duo whose output is underpinned by a mutual curiosity. The result? Startling electronic music productions, one of the best live acts in the scene and the innovative Artefacts Mastering studio.
Twinned by a fascination of process, and a love of Lee Scratch Perry’s mix board experiments, they take dub and push it into the deepest corners of techno and out to the ambient fringes. Frustrated by identikit sounds in electronic music they set about pouring their technical knowledge together in search of innovation.
They describe their approach in the studio as ‘like making scent’. Dadub take sound and process it to extract depth and expose human warmth. With this studio outlook it was natural for Dadub to move into mastering. They delved in and Artefacts Mastering emerged: mastering that involves no presets and a policy of adjusting every track entirely from scratch. It’s exactly this type of discipline, their use of open strategies instead of formulas that also makes Dadubso dynamic live. Live they layer dubbing and synthesis, they take Dadub material and deconstruct or reconstruct it spontaneously. Their sets are seriously deep and have been showcased internationally at Barcelona’s Sonar festival, Germany’s Melt! festival and in clubs from Berlin to Moscow.

Special download

This episode features Joe Europe, Franky B AKA Cryptic Monkey, Darling Farah, Randomer, Artifact, J-One, Mouch, Krts, Landslide, Andre 3000/Outkast, Tony Blitz and Chesus

Interview

How did you get into making electronic dance music? Where do you get your influences?

I listened to a lot of different types of music growing up, but slowly got in to electronic music at the time of Moby’s “Porcelain” and then through artists like Aphex Twin, The Album Leaf, Kid606 and even Prolix to MJ Cole. That stuff sparked my interest in actually making electronic music (and still does today) because of the ability to just be locked in and stay listening… despite sounding so raw and unconventional to me at the time. I loved the idea of making music alone and having the ability to experiment with so many new things. In terms of inspiration for writing and composing I get it all around me, though more so from the styles coming out of the UK and largely through artists like Whistla, Submerse & DJ Para. The people I work with and speak to influence me hugely as well, their music and the relationships. Dark or light, they are everywhere.

How would you describe your style?

It’s hard to do as my music is a blend of all my influences and ideas at the time of writing each track. Though I like the term future garage and use that, as I see it as a way forward for my ideas and a movement which is bringing together some hugely influential sounds. I love new and old garage, and growing up in Canberra I didn’t get huge exposure to that early on. I feel there is an endless amount of new thought and style that can be brought in to it from other areas while at the same time bringing a vibe of UKG and even dubstep.

Buck UK & Mirror State – Enola by Mirror State

This episode features Monoder, Meesha, Submotion Orchestra, Antiqute, TKR, Voyeur, Snoe, Rain Dog, a_Dub, Texie, Focus and Vlad Onu

Deadbeat is, in the broadest sense, an electronic dub artist, but his musical palette goes far wider, fusing his productions with deep, tech-laden ragga and crackly, sparse ambience. After producing for over 15 years, Monteith has indeed mastered his craft.

An ambient rework of a Pantha du Prince track opens up the mix, which melts into crisp, minimal dub from Sven Weisemann and works its way into heavier form, through Matias Aguayo’s much-used tech-house stomper ‘Dance Machine’, ex-Headhunter Addison Groove’s manic ‘Make Um Bounce’ and Dutch progressive-dub prodigy 2562, with a cut from his latest warped disco album.

The mix finishes with some typically refined but heavy dub atmospherics, via ‘Fourth Quarter (Cala’s House)’, one of Monteith’s own tracks taken from his new album, ‘Drawn and Quartered’, which is out now on BLKRTZ.

Founder of Echodub, one of the freshest Dubstep labels over the years, as well as being an established artist and DJ in his own right, Alex Cowles (DFRNT) has well and truly established himself in the world of Dubstep. Maybe not the most familiar name to those who like their Dubstep to reflect the sound of nails being dragged down a blackboard in random rhythms, DFRNT is well known to those that appreciate the deeper realms on the edge of the genre. Not content with putting out some fantastic music and running one of the more forward thinking record labels, in both sound and approach to releases, Alex has recently set up Cut, a netlabel dedicated to bringing the best free music possible.

For his mixtape, Alex has delved into the world of deep, dub-style 140bpm based music, resulting in one of the smoothest and most tranquil Dubstep mixes I’ve heard in a long time. Mixed with masterful precision, this mix effortlessly transfers from song to song, creating a true music journey.

What approach have you taken for this mix?
“The mix basically came from my desire to do a deep, dub-influenced mix. Something with hints towards roots, while combining that with the sounds of dub-techno and generally exploring the area of music I recently described as Echostep. I’ve given it the “Future Dub” title, just so that it’s perhaps a bit easier to understand the sound, but you get the idea…”

Which track or mix is your personal favourite?
“Oh man, I really love all the tracks on here. No exception. I could listen to every single track here for days. The Hatti Vatti tracks have got insane shelf life – “Different Music” has been a staple of my sets since it was released ages ago, and I never get bored of hearing 2562’s Pattie Blingh remix. Synkro’s “Hornz” is pretty much a guaranteed dancefloor favourite when I DJ live too.”

What did you do the mix on?
“A seat in my little studio.”

Is style important to you?
“I guess style counts for a lot in my world, yeah. Not necessarily fashion style, since I’m not always the most style conscious dresser, but from a brand or identity point of view with regard to my music and output yes. Things like Echodub, Cut, Sitting Ovation and Insight all have to have an element of style. I think a better description might be well designed consistency. Perhaps that’s what style is anyway?! Yeah, bottom line is I prefer style to lack of style. That said, musically if the sounds are good enough, then it can be substance over style in some cases. But then you could argue that “style” fell within the musical output in those cases. Blimey, this is getting deep.”

What brand(s) are you particularly feeling at the moment?
“I just saw the latest artist series from Addict actually, with the Disney stuff, and it’s the first time in a while I’ve said to myself “Damn, I need to get some new T-shirts” haha. I recently got some Fenchurch stuff I liked too, but I’m not really buying much these days. In fact, even things like trainers which I used to buy a lot, I’ve been holding back on recently. Since Dunks started coming in terrible gawdy, nonsensey day-glo colourways, I switched to buying Supra high-tops. Even that has been cut down of late though. I’m trying to stop accumulating “stuff”.”

What have you got coming up soon?
“I’ve got a big EP coming on Nu Directions, with remixes from Jus Wan, Jack Dixon and ASC. That’s going to be limited edition CD, and a 12? plus digital. Then I’ve got a few digital releases set for this year. Toffler records in Italy are putting something out, Gradient Audio are releasing an EP, Subdepth are putting an EP out, I’m hoping to get one out on Echodub, and there’s a couple of others I can’t mention. I’ve got remixes due for Unquote (just out I think), Jack Dixon, Quantec (if it ever surfaces) and I’ve started a new line of production which has seen some good feedback so far. I’ve also got other people’s music forthcoming on Cut and a nice big album project coming from the talented Muteqx on Echodub, followed by some really awesome digital EPs.

I’m also planning something of a tour of the USA again this year after the success of last year’s DJing over there. This year I’m planning on seeing as much as I can, in a shorter period of time.

All that, while trying to keep up with good music via Sitting Ovation posts and also putting out my fortnightly podcast Insight!”

This episode features Bryn Thomas, James Fox, Modual, J-One, Luthor, Rob Sparx, Dee Ellington, Ak0pian, Klatu, Essay and DFRNT

Known for his proficiency in producing both refined techno and dubbed-out texture tracks, Moeller’s Clash mix sees the artist starting off by exploring a dancier track selection than expected, initially characterised by crisp techno, but one which soon delves into the spacious areas (courtesy of Frank Bretschneider’s minimal click journey, ‘Flight 09’) often favoured by Moeller himself in his dubbier moods.

Things then take a darker turn, via Norman Nodge’s aptly named ‘Breakdown’, before the trippy bleeped nightmare of Oni Ayhun’s ‘OAR 004 A’. Scary but satisfying.

A clever, mood-shifting mix, and as you’d expect from Moeller, with over 15 years production experience under his belt, everything here has been carefully scrutinised and masterfully mixed.

‘Subterranean’, Moeller’s latest album, is out now on Steadfast Records.

this is my version of Borrowing The Past by Rhian Sheehan
share some love to Rhian Sheehan
share some love to the world :)

In crafting this mix for the Crackcast series, Hyetal embarks on a multi-track, multi-tempo, wind through the music that’s making him tick at the moment. From the experimental dubby sonics of Peverelist to the twisted two-step of Pariah, the mix bumps and winds along with a variety of vocals, cuts, tempo-changes and array of sonics.

With a loose house flavour running through the middle of it, but with some incredibly brooding, atmospheric, synthesised touches giving the mix real depth, Hyetal’s contribution to the series represents the diversity characterising a modern producer’s record box. Cramming an unprecedented number of ideas into 40 minutes, this mix reinforces the incredibly positive direction in which Hyetal is headed.

Born in Italy soon to be moving at the tender age of 6 to find home with his family in Belgium, country where pioneer techno labels such as R&S and Music Man found a home too.

Strongly influenced by the early sound of electro and hip hop and by movies such as Wildstyle, he progressively got more interested in the electronic sound.

After discovering acts such as Dave Clarke, Derrick May, Jeff Mills and The Advent it was clear for him which was the direction he wanted to take. He started expressing his love for techno music through a pair of decks but soon realized he needed something more and started producing.

When he moved in Bristol (UK) he found a very dynamic musical scene and started together with D-Gelo promoting succesful club nights Out Of Phaseand later Cuisine that brought some of the best electronic music acts to the city, and that became one of the most important audio-visual collectives in the UK. During this years he refined his dj skills playing alongside with The Advent, Tadeo, Peverelist, Tony Rohr, Oxia and Apparat between many others. Today he is international resident for the Emergent nights taking place in the Blend Club in Athens and promotes the b.low nights taking place in the Razzmatazz in Barcelona.

In 2003 he finally decided together with D-Gelo to form officially Micropunto Schallplatten, a concept that both had in mind for a long time and that today is reality.

Now living in Barcelona, he has been lately very active in joining his love for techno and the fertile ground called dubstep. His productions in both styles are influenced by Detroit and dub techno.

Released by: Cut
Release/catalogue number: CUT002

This 2-track EP is a beautiful, relaxed, almost meditative take on dub-influenced techno. Lose yourself and drift away with Essáy’s Distance & Lights EP.

Preview

This episode features Essay, Henry Oakley, Borth Sea Defence, Lamech, MFS, Delete, Dadub, Excision, Ghostek, Hatti Vatti, Kontext, Seba and Stunna

Moving our way through the mix series comes the long awaited 004 exclusive mix from producer, Dj, designer and all round generator of anything unique, DFRNT. Varying his styles ranging all the way from 130 to 174 bpm theres never a shortage of a chest pulsing sub bass and this mix is no different subtly merging from house into post-dubstep whilst dipping in and out of rolling half tempo beats.

This episode features Roof Light, Ghostek, Core, Clubroot, Subreachers, Noise Motion, Isotroph, Actraiser and Nowan

Cut is a new netlabel set up by DFRNT, which is designed to bring you free music of the *highest* quality. Not just off-cuts, or old tracks. We’re talking the kind of stuff you *should* be paying for.

Curated by DFRNT, comes 14 amazing bass-filled tracks costing absolutely nothing. Dubstep, dub-techno, future garage and drum & bass.

Preview

CUT001 Cut Volume 1 (preview) by cutmusic
Release/catalogue number: CUT001

Elsewhere on the web

• http://cutmusic.org/
• http://soundcloud.com/cutmusic
• http://www.youtube.com/wearecut

Since the early 1990s, Orphx (Rich Oddie and Christina Sealey) have been creating and exploring a grey area between techno, industrial, and electro-acoustic music. Using analog synthesizers, software, feedback systems, and homemade instruments, Oddie and Sealey draw upon the darker tendencies of techno, electro, and dub, and combine these elements with the experimental aesthetics of early industrial music.

OVERCAST SOUND’s performance at MUTEK was all about timing. The Canadian duo were just finishing a three month stint in Berlin, where they were working on their debut LP Beneath the Grain, when the call came to be part of MUTEK 2010′s bass-driven Nocturne evening with Demdike Stare, King Midas Sound, and Ikonika. A couple flight changes later and members Michael Pettit and Jamie Drouin were massaging the audience with their rolling chords and basslines.

Since 2005, Michael Pettit and Jamie Drouin have been casting an atmospheric haze of deep, minimal techno over their hometown of Victoria, British Columbia. As OVERCAST SOUND, fragments of field recordings mingle with cinematic sweeps and a dub undertow. Pettit combines his background in techno with Drouin’s sound-art practice, creating a signature style that recalls the dub-techno excursions of the Echochord label. Drouin is also no stranger to MUTEK, having presented his experimentalist works a number of times.

OVERCAST SOUND’s MUTEK 2010 performance was a taste of things to come. With their debut full-length album being released on February 21, 2011 by Paris label Entropy Records, their unique twist on dub techno is framed within a conceptual album exploring significant history of Berlin.

More information on OVERCAST SOUND and ordering their debut album is available at http://www.overcastsound.com

the mix was recorded in one take in my home studio. my intention was to make a mix to listen to in the car this week. :)

This episode features Shigeto, Panic Girl, Skyence, Great Skies, Portrait, Hodges, Toffee, Maddslinky, Tawiah, FaltyDL and Pressa

Maarten Brijker is a 16 year old musician from Amsterdam. He starts his carreer in the musicscene under the name Individualism. His name stands for the individualism he puts in his music. At a very young age he gets in contact with music. As his father is practising as a guitarplayer he was always surrounded by music. He already visits shows as a young boy. When he is seven years old Individualism starts playing guitar. As a big fan of the Red Hot Chili Peppers he plays all their songs. At the age of thirteen he gets in contact by his father with the computerprogram Reason. Soon he filles all his sparetime making music by using the computer. All of a sudden he was able to make not just one melodyline, as with his guitar, but now it became possible to orchestrate a number, with several different lines. After a year of rehearsing he discovered Studio West, where he learns how to create music. He meets the Beat House Production Team. They enabled him to release his very first number on cd on the Aztex Label. Besides this Individualism is working hard to record his own album and to release it. His style is inspired by the deep sound of Detroit House, Dubstep and the warm sound of Jazz. The music of Individualism has a very wide range; he differs from Broken Beat to Detroit House or Dubstep. With his very young age and refreshing view to music man will hopefully may enjoy his music for still a very long time.