Hyperdub turns 15

On Friday, October 18th, Hyperdub will celebrate the 15th anniversary at London’s Village Underground with an all-star lineup that spans the label’s history and future.

The London-based imprint is one of the greats and crucial to understanding the U.K. peculiarities in electronic music evolution coming from Chicago, Detroit, and New York’s basis. Furthermore is a synthetic and itself defining the part, a yield contribution to the so-called “Hardcore Continuum.” This musical wave function is continuously creating its space-time with every new twist, radically avoiding unitarity. ‘Expected’ is not participle to fit. Adjective ‘proper’ is unuseful. Multiculturism and multiracialism flow as interactions. It goes beyond acceptation. The Hyperdub’s inception context is mutability, the moving force on the British binding sequence of rave adjacent styles, from hardcore and jungle to garage, dubstep, and grime.

Hyperdub is the diasporic sense from any irradiating source. A big part of the dubstep growing belongs to it. Supporting flagship artist Burial from his debut to the latest 12-inch, “Claustro/State Forest,” gave “Untrue” to the world as unbeatable achievement, at least, a definitory paradigm for self-consciousness. DJ Rashad and affiliates from the Teklife family had a welcome home out from the raw streets of Chicago. His death was a tragic loss and a crossing stop in the label’s defiance. DJ Spinn and DJ Taye keep on waving the adventurous flag so high. There is a risk in the options, both in straight gaining and in turbulence. Diversity goes through flaming the unthinkable match. Creative cohabitation always knocking at the entrance. There is no label sound, but fluctuation and modality by prizing individuals. Its roster is a bunch of free-mind artists, as diverse as committed in their imaginativeness, able to create on the outside lane.

Hyperdub began in 2000 as a webzine, home for critical thinking journalism, taking music to politics and everything connected in between. A difficult task few music journalists were able to afford but the late Mark Fisher and Simon Reynolds, among others. Ideas proved not to be good contenders in the market. The webzine became a record label. Hyperdub’s music outcome was in April 2004. The owner, Steve Goodman (Kode9), joined vocalist, poet, live performer Stephen Samuel Gordon (June 17th, 1970-October 2nd, 2014), then under Daddi Gee alias and better known as The Spaceape, for the first release, ‘Sign Of The Dub/Stalker.’ Then, nothing sounded like that. It was pulsating, slow and spacy, with a line of muted synth and a bass-driven from which emerged an introspective spoken word. Inspired in Prince’s classic, they took the title’s appreciate constituents towards a new form and meaning. In 2006, the main track became ‘Sine‘ into “Memories Of The Future,” the duo’s first full-length album.

By the time, Hyperdub increased the number of releases, and its logo spun as a symbol of captivating material into the underground club scene. Neatly pressed in the center of the record’s sticker, it was reliable for any restless DJ looking for the new, mostly as a physics law. Symmetry is the keyword, working in both directions, from the past to the present, as the future’s premonition. And in revers, anticipating a rapidly changing time in electronic music history.

Hyperdub is situational listening. You have had the experience of disruption, the decoherence left on a fact, recognizable objects on the loose, sounds on the riddled corners of the borderless. Take a breath.

Here we go again!

Tight up to the lace one more year, I am moving the tail for being your dog (Rendition to the forthcoming Stooge‘s 50th anniversary.) Ready to periodize time for taking a healthy knap. It’s going to be rushy. There are too many offerings for a rational schedule, from PRO through pre-(whatever) and, finally, to the exhausting post. However, there’s the magical word: choice. I’ll be there, at my prescripted corner, Primavera Bits, where I stood last year, almost on stillness mode. I’ll do the walk (or transfer – thanks, SEAT -) for the exciting rest. I swear I’ll wear under my pants a flowered Bermuda swimsuit for the main stage, “Lotus,” to go for a “Splish, Splash” at the right time.

In a model of gender parity, the most acclaimed DJ-producers will be on the decks. From Laurel Halo to Veronica Vasicka (excited for what can come off from her box running Minimal Wave). Helena Hauff, her sister in sound, who’s always taking me back to an ambiguous disturbing-pleasant background. Yes, Sophie. Narrator Marie Davidson. I want that NYC raver kid on Princess Nokia‘s set. I am celebrating proposal Octo Octa b2b Eris Drew. I’ll stand for Peggy Gou. Pop up with Robyn. Choreographed FKA Twigs. Lately, Nina Kraviz. Erykah Badu, I won’t forget you.

Concerning guys, Cybotron is a piece of history. Curiosity for Nas and Dâm Funk. If I can, double Objekt. To recapitulate, Hieroglyphic Being. Richie Hawtin, an excellent pre- for Avalon Emerson. Apparat, you take me for the longest run. You also are expecting James Blake with Rosalía.

Nitzer Ebb, promise I’ll be there. Stiff Little Fingers, Guided By Voices, Liz Phair, Primal Scream and Tame Impala you’re worth for a transfer, from schedule to my heart.

Ok, we all love indie music, but what some of us like the most is to evolve. Moreover, what I appreciate from Primavera Sound is that programmers do their job, going along with the music changing times. To the J Balvin reggaeton offer, locals bill talented Rosalía, who took her trained “cantaora”‘s flamenco roots to the nowadays standards of musical production. They don’t stop in this, and they go further. Primavera Sound 2019 offers a privileged contrasting situation. There will be a middle stage between these two significant phenomena. A Point of interest. “El Punto” stage, placed on the Parc del Fòrum’s electronic side, where artist Yung Beef curates a selection of seventeen (17) urban music local emerging talents going from trap to reggaeton. It is for the owner, a place where the rich Spanish culture contributes to the globalized musical forms. It will allow discerning and qualifying the incomes and feedbacks; what gave Imperial Spain to the Ultramar colonies to conform Caribbean musical roots, where J Balvin takes his reggaeton from; what can add those new voices to the urban of its own and vice-versa, leaving Rosalía as an outstanding contribution to the pattern in “quejíos.” Lovely, Nathy Peluso. Have a nice time. We’ll see around!