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.

DJ Taye announces debut album, “Still trippin’,” with ‘Get It Jukin’ (feat. Chuck Inglish)’ – [Hyperdub]

Growing on footwork

Chicago born footwork producer Dante Sanders (a.k.a DJ Taye) gets rapper Chuck Inglish on ‘Get It Jukin’,’ the advanced track for his debut full-length album “Still Trippin‘,” due to release March 2nd as the first 2018’ LP from Hyperdub.

Using 100% essence of footwork template’s drum programming, the Chicagoan has the tasty ability to integrate it in a melodic and cinematic synth line where Chuck Inglish’s descriptive verses reign. It’s dark but situational, a walk with a direction to, stepping the loaded Teklife‘s legacy into a new zone of songwriting, forcing and adapting the code in an open bracket, not for itself expression but to enrich in connecting others.

DJ Taye is a producer but can rap and sing, MCing talents that revert on his first album. The sixteen tracks also feature a range of guests rappers, vocalists, instrumentalists and assistant producers. From mentioned Chuck Inglish, a former member of Detroit duo the Cool Kids for advanced ‘Get It Jukin” to Jersey club queen, UNiiQU3, who offers production and rapping on ‘Gimme Some Mo.’ Odil Myrtil, a young vocalist from Montreal, takes ‘Same Sound’ to a souled atmosphere. Fabi Reyna, the editor of celebrated “She Shred” magazine, plays bass guitar and rhythm guitar on ‘I Don’t Know.’ Teklife members DJ PayPal and DJ Manny assist in some of the tracks, and DJ Lucky is a guest MC on ‘Smokeout.’

The youngest affiliate of Teklife Crew is a generation younger than the founders DJ Rashad and DJ Spinn. He was a rapper and a beat maker before joining the legendary collective in 2010. DJ Taye was introduced to footwork in 2007 and began to produce his own tracks which appeared in several digital releases and mix sessions. In 2014 Hyperdub took on him contributing in two of its compilations with ‘Get Em Up’ to “10.1” (2014) and ‘The Matrixx,’ along with DJ Manny, for “Next Life” (2015). Signed to Kode9‘s label, he released two EPs: “Break It Down” (2015) and “Move Out” (2016).

Now it’s time for debuting in the full-length format. As DJ Taye expressed, “Still trippin‘” takes Rashad’s passing in 2014 as the unlikely catalyzer for developing the sounds and ideas for the album: “When Rashad passed away I felt inspired to continue evolving the music that I loved so much coming up in this world. So, I had to do something…make something brand new.” Adding, “I took this as an opportunity to not have boundaries with footwork. Different approaches to our ‘underground’ sound to make it broader. It’s only underground until it crosses that threshold.”

Burial – Rodent (Hyperdub)

Promising New

Promising New

The UK producer has released the 10-inch vinyl of his new track on Hyperdub backed with a label boss’ Kode9 Remix. Preceded by the digital edition, available to download from mid-September, the physical format hits the shelves at the beginning of Autumn season.

In a way, “Rodent” is a surprise, though it participates of all elements we recognize since Burial came with “Untrue,” ten years ago. We got what we expect, his always distinctive cinematic, concerning and reflexive descriptions due to score midnight on city street views. It helps to be a Londoner, but everybody knows there’s a place that sounds like that wherever you do the hooded walking.

It comes from a place left behind and transformed. It gets the picture of deserting neighborhoods in vacant buildings with windows and doors walled up, urban nightlands echoing the emptiness of what it was in a look back. “Hey” sounds like a close-up for attention; same breaths hit the ground; horn samples break as forgotten coma punctuation in the story, while archangelical chorus flies over 90’s ambient jungle oblivion. Bassline takes us back in time to a basement club where the formative 2-step garage was growing.

But “Rodent” is surprising because instead of being an abstract proposal to fit a thought into the ghostly dark side, it is focused, even propulsive in deep garage house. It promises something new, leaving a moving trace of change. An R&B vocal sample does the job. A sentence like “What would I do without you?” is tech-treated as parts, rolling together in a random mode to configure an unprecise but envolving mantra, resembling an Adham’s calling. That’s full-stop for further considerations.

On the reverse, Kode9 remixes the original turning its fragmented vocal sample into a frantic “on looping”-“I do it” footwork, one of the cornerstones with he built “Nothing” album in 2015, dedicated to Spaceape (Stephen Samuel Gordon) memory. It has nothing to do with Burial’s piece, which proves how different are the ways both artists have chosen to evolute from their common roots.

We wait for William Emmanuel Bevan (a.k.a Burial)’ new material at the end of the year, as he did with “Truant/Rough Sleeper”(2012); “Rival Dealer,” (2013) and “Young Death/Nightmarket” (2016). This time, Burial kept a consistent pace of releases. In April he added a remix for the “Inner City Life (2017 Rebuild)”, reconsidering Goldie’s seminal track from 1994 album debut “Timeless.” He followed the ambient atmosphere of “Young Death” with single “Subtemple/Beachfires,” appeared in May. Unexpected was the July smokier take from Mønic (Simon Shreeve)’ “Deep Summer,” celebrating the 50th reference of Osiris imprint. Now, it’s Autumn, and we have a promising new Burial.