Release date: 8th August 2012

Finding an artist like Diggs Duke is like finding an oasis tucked away in an unlikely part of a jungle. With all the noisy artists shouting to get our attention all over the place at any given moment, the calm presence of a musician like Diggs Duke speaks louder. And a musician is exactly what he is, in the real and traditional sense of the word. Not only has he been blessed with a beautiful, soulful voice (very similar to that of John Legend), but every single sound you hear on this release has been composed and performed by the man himself. That means Vocals, Bass Guitar, Electric Guitar, Acoustic Guitar, Banjo, Electric Piano, Acoustic Piano, Trumpet, Alto Saxophone, Djembe, Shekere, Wood Blocks and Drum Programming. It goes without saying that this kind of talent is incredibly rare in music today.

But it’s not just his technical abilities that I would commend him for. On an essay on his website, Duke speaks of music as a science, as well as an art. I think the fact that he sees music as something which should be looked at in depth and analysed properly has definitely allowed him to be more innovative in his work:

“The truth is that when we hear music that we like, there are predictable qualities within those sounds that resonate with us for a predictable reason.  Knowing this, the composer has the most valuable information at his or her disposal.  If we know what the listener is expecting, we can manipulate those expectations to enhance the overall impact a song has … The best musicians and composers are master manipulators of expectations.”

And this “manipulation of expectations” is exactly what I think he does. Although you can hear very clear jazz and soul influences on Mass Exodus, the fact that he is floating above and between genres rather than following them strictly seems pretty evident. As he says himself (See the Soundcloud player below) “Genres are Stupid”.

And anyway, genre doesn’t matter when the melodic instrumental compositions, raw percussion and quirky lyrics work so well together throughout. My favourite track Crazy Like A Fox is a perfect example of this. They say it’s much harder to be creative and simple than to be complex or intricate in your creativity. Every track on Mass Exodus is masterpiece of smoothness and simplicity, but they all most definitely pack a punch and Diggs Duke has managed be creative and innovative using only the most pure and organic sounds.

The EP is available through iTunes tomorrow or you can buy it off his Bandcamp right now. His previous releases are also definitely worth checking out.

My Rating: 7.5/10

Release date: 23rd July 2012

Label: Warp / LuckyMe

Whenever two great musicians get together for a collaborative project, the amount of hype that surrounds them in the build-up to their release is crazy. And sometimes they don’t even live up to it… But sometimes they do. In the case Hudson Mohawke and Lunice, collectively known as TNGHT, they most certainly have. Referencing all of their influences, be they past or present, electronica or hip-hop, the five tracks of their self-titled debut EP are all un-skippable, excellently produced tracks.

The production is not only consistently good, but also consistently innovative and experimental, using all kinds of strange, energetic and colourful samples. In this they have managed to create sounds so forward-thinking that even when they sample the famously weird Timbaland baby noise (Aaliyah’s Are You That Somebody?) on Bugg’n, it is not only nostalgic, but completely reborn in the context of this song. The highest point of the whole EP for me though has to be the centre piece, Higher Ground. The build-up of the drums against the repeated vocal sample and later use of layering has been put together so well, it’s not easy to do it justice with words. Track is hard:

I don’t think I’m exaggerating when I say TNGHT does more in under 16 minutes than many producers have done in their whole careers. Somehow, they’ve managed to bring out the best in each other’s production styles to produce an EP which represents both of them equally, yet remains simple and not over-crowded with ideas. In a recent interview with The Independent when asked about their collaborative creative process, Lunice replied:

“You know what, we’re both one hundred on everything from the kicks to the snares. For example, I will lay a drumbeat and then he would go on that drum loop and change the kick something a lot harder. Then I will come back in and change the snare, he will come and do the melody. It’s not like half half or anything like that. We take care of each part of the song and it’s a fluid process. That way we don’t really encounter writer’s block.”

The fluidity of their process and smoothness of their collaborative effort is evident when you listen to the entire thing from start to finish and there really is nothing like it in hip-hop production today. Put out with the intention of getting rappers to jump on the beats, and having worked with some big mainstream artists already (i.e. HudMo x Yeezy), it’s plain to see that the experimental styles of TNGHT are just gonna gather speed and probably even influence some of the future sounds of hip-hop. And I’m sure both Lunice and Hudson Mohawke will just continue to go from strength to strength, both collectively and individually.

Get it now: iTunes link

My rating: 8.5/10

Release date: 17th July 2012

Label: PMR Records

Wot you call it? Lovestep? Well, whatever you call it, I like it. And after Two Inch Punch’s debut of last year, the Love You Up EP, I was really looking forward to this one. And it hasn’t disappointed, it’s just as good as it is different from his previous release. Where Love You Up featured a heavy amount of 90′s RnB influence and sampling, Saturn: The Slow Jams has more electro elements and shows a definite progression in T.I.P.’s production and vision.

After a short Introlude, we are introduced to the first main track, Moonstruck. For me, what makes this track work so well is the contradiction of bright optimistic sounds to tell a seemingly solemn story. The melancholic vocal samples, which come in the form of a male/female duet of murmurs and declarations of love are backed by bright, glitchy sounds and a choppy beat, providing a very smooth sonic and thematic contrast to the track. Paint It Red (feat. Mikky Ekko) is the next track, and my personal favourite. The progressive layering of instrumental melodies with vocal samples and a lovely sung vocal is perfectly balanced and beautifully executed on here, and with each closer listen, you really begin to notice the intricacy of T.I.P.’s production talents.

After another short interlude, Optibeat, you’re into the EP’s closer Digital Love Letters. The production of this final track is very much in keeping with the electro-slow-jams theme of the EP, but with a dubbier edge and more impressive and complex beat work. This, along with the lyrical content and chopped and screwed vocals of the track make it very descriptive of current trends in music across genres, and I can’t help but think of it as this generation’s Computer Love. If you want to hear a fresh new take on electronic music, stream the EP below and get it here.

My rating: 7/10

Release date: 4th June 2012

Label: Greco-Roman

Off the back of their very well received remix of Jessie Ware’s Running, super talented brothers, Guy and Howard Lawrence AKA Disclosure, have graced us again with what sounds like their best work to date. Released Monday just gone through the Greco-Roman label, their latest offering, entitled The Face EP, features four instantly addictive tracks that provides the perfect soundtrack for the summer months ahead.

Initially dropped a couple of months back, the EP opens with the stunning Boiling and sees singer/songwriter Sinead Harnet’s silky smooth vocals layered beautifully over the warm and rhythmic bassline. This is then followed by the equally strong and sexy, guaranteed floor filler What’s In Your Head, the risqué unofficial video for which has been making the rounds online. We are then treated to sunshiney synths and cut up vocals on the uplifting and highly infectious third track Lividup before reaching the final cut and my fourth favourite (!), Control to which Ria Ritchie lends her gorgeous vocals, seeing the uptempo beats and party vibes through.

A completely flawless production, Disclosure’s new release sounds fresh yet wonderfully familiar at the same time as it makes use of many elements that excite so many fans and lovers of electronic music. The marrying of spacey sounding female vocal splices, 2-step patterns, a little soulful house and a dash of RnB, The Face EP does everything to fully showcase the incredible ability of these young producers. Aged just 17 and 20 they clearly have an incredible mature understanding and knack for knowing what works and just simply sounds good. It is therefore no wonder that their music has been getting thumbs up from the likes of Zane Lowe, Annie Mac and Mistajam.

An honestly solid release which is sure to see the dynamic duo go from strength to strength while attracting new fans to the sound, make sure you keep an eye and both ears on these two and cop this EP like it’s hot; they completely smashed it and the eargasms are guaranteed!

My top tracks: Boiling, What’s In Your Head, Lividup, Control and… that’s the whole EP then!

My rating: 9.5/10

Release Date: 4th June

Label: Black Acre

With so many talented UK producers about at the moment, it’s very easy to fade into the background. At times, UK bass tracks fail to stand out even when they’re good, getting lost and going unnoticed in the middle of a set, and we’re on to the next before we’ve even had a chance to learn the name of the artist. That will NEVER be the case with the work of Stephen Gomberg AKA Fantastic Mr Fox. With just a few remixes and now three 4-track EPs under his belt, his work definitely stands out from the crowd. He has managed to create such a unique, distinctive sound which is always instantly recognisable as his, but somehow also will always continue to grow and develop with every release.

A lot of us have been (im)patiently waiting for this one, and it is without a doubt his best work yet. And probably worth the almost two-year wait too.

The opener, Pascal’s Chorus, is one of the three tracks on the release featuring the vocals of Fantastic Mr Fox’s label mate and artist I’ve been following, Alby Daniels, who released his first solo EP This Dawn earlier this year. Daniels’ soulful, unimposing voice is spread beautifully across San’en, harmoniously interacting with the other elements of production rather than competing with them. So smooth and mellow, I can’t imagine any other voice meshing so peacefully with the melancholy soulfulness of a Fantastic Mr Fox production, adding to the emotiveness of his melodies without interrupting or interfering, and keeping with the mood of each track, whether it’s the laid-back Yesterday’s Fall or the energetic title track. The focus on RnB elements in this release is much more prominent than on any previous ones, affirming that soulful edge to his production that made him stand out in the first place.

Speak Nuh, the only track without a vocal, acts as a reminder of Fantastic Mr Fox’s undeniable talent, pure and raw, and without vocal distraction (not that we needed a reminder). Forever evolving, building and changing direction, this and each other track become a steady, progressive journey made up of elements borrowed from several genres, that are so varied and contrasting, but show complete unity and work together so perfectly on an EP of his most complex, layered production to date.

From house to grime, and laced with RnB, he manages to reference all of his influences and still create some of the most expressive, soulful production out there, always keeping with his distinct sound in a way that no other producer has been able to do. I can’t imagine any other release from the scene will be this strong this year so stream a couple tracks below and cop it like it’s hot! off iTunes or your digital retailer of choice. And for all you vinyl heads, there’s a limited edition box set which comes with a 10″, a t-shirt and some stickers, which you can get here.

My Rating: 9/10

Release Date: 19th April

I’m a bit late on this one but I just couldn’t let something this good go by without any mention. Seeing Her Naked is probably the most beautiful thing to come out of Amsterdam since, well, you know (I won’t spell it out, but I’m sure you or one of your friends tried to post some back home in a envelope too).

There are a lot of artists (i.e. The Weeknd, Alby Daniels) who are trying to take the RnB genre into a new direction, to reinvent it and make it relevant to current times. I would definitely regard Mar as highly as these main players, but even more so because he has his own way of doing it, and for the first time in a long time, we have an artist who could potentially do it by relying solely on his vocals. The second track, My Absolute showcases this beautifully. With minimal sound and simple production, Mar’s vocals dominate, and the manipulation of his gorgeous voice has the power to make you feel a certain way without you even necessarily comprehending the lyrics. Now that’s a good singer.

And that’s why this EP will make you love it before you’re even familiar with it, especially when you get to the third track, and my instant favourite, Our Attempt. With lyrics like “And is it good to you?/Is all I need to know when you’re over my body”, I am not exaggerating when I say Mar’s silky voice over smooth guitars and mellow beat on this track could easily rival Ronald Isley. It’s the return of the slow jam and 2012 finally has some baby makin’ music.

And who wouldn’t love the metaphor of the album artwork? He’s playing her like a violin, creating beautiful music to the tune of “mother nature calling”, as he calls it. Don’t let this fool you though. Far from a one-track mind, he shows love and compassion for “her” on Her Pain when he sings “If it’s something you don’t wanna carry/ the strength I have is just enough”, ending the EP with a track with more complex, layered production, which shows both sonic and thematic variation and his lyrical potential.

Seeing Her Naked is not just a collection of five sexy love songs, it is a reminder of why RnB is an important genre, and why it is needed in the world of music. After all the mainstream has done to the genre in the last few years, making it seem unimaginative and irrelevant, Mar joins the front that are bringing it back, with the passion and sensuality of the 90′s and the quality of sound and production of current times.

My Rating: 7.5/10

Have a listen below and get your free download here. ………………………………………………………..

Release Date: 26th March 2012

Label: Black Acre

The thing with Dark Sky is that no matter what the state of the bass music industry, what style of production is in fashion or what elements are being (over)used by producers, they are sure to come out with consistently good music, which does well to both regard and disregard these trends. Black Rainbows, as I expected, does just that.

What is most striking to me about their work is their power to command mood using just beat production and simple melody. Coming from someone who loves a good vocal sample (typical girl, I know), Dark Sky are one of the few artists who, for me, have the ability to convey emotion and lead you to escape to the dark, gritty setting they have created without relying on typically emotive vocal samples, an element which other producers can’t do without.

F Technology starts off the EP by plunging you right in to their moody setting. This and the next track, Tremor see the trio use a variety of percussive elements that they have yet to try, creating sounds which are experimental and original, but at the same time completely easy on the ear and club-friendly. The third track Zoom, still following suit, asserts itself as a strong stand-alone track, as does the closing track, Totem. This end to the EP sees us blessed with the same beat consistency and strength that runs throughout, but with a change in mood, helped along by the uplifting melody and twinkling, glitchy sounds. Like their gorgeous cover art by Harry Cresswell suggests, Dark Sky have created a world of concrete darkness with a splash of colour and movement, and as you leave the last track on a much higher note than when you started, you are ready to start the whole journey again from the beginning.

All in all, with their latest release, Dark Sky have done what they do best. Without worrying too much about genre, but by just focusing on delivering excellent production, Black Rainbows has moved their sound on in a timeless, non-linear way and has proved that the collective talent and skill of this London trio will persist for releases to come.

My Rating: 8/10

Get it here.

Release Date: 20th February 2012

Label: Black Acre

The Weeknd once tweeted, “I shouldnt have f*cked this game unprotected cause all these new acts sound like my kids…” That may sound arrogant to you, but he can do no wrong in my eyes. Plus, he was right. The amount of music that is coming out everyday that tries (and fails) to duplicate that “beautiful falsetto against ambient production” combo is ridiculous. The same can be said for those who try out that “melancholic murmuring against minimal post-dubstep” a la James Blake. It’s getting a bit boring now.

So it is truly refreshing, when you hear an EP like This Dawn by Alby Daniels. His music still has that dreamy yet gritty quality, but with his own signature.

The title track starts the EP off strongly, as Daniels’ soothing voice is soon heard amidst the hazy production. He has been described as the “D’Angelo of dubstep” but to me, he has a consistent mellow quality to his voice and sings in a manner that seems completely effortless, reminding me more of early Musiq Soulchild. He plays with his own vocals on this opening track, chopping and screwing and repeating them throughout. This nicely reflects the lyrical content of the song, as he sings about the confusing concept of time, “Feel I’m trippin’/ Time’s slippin’/ Through my fingers”, and realisations of destiny.

The second track, About Her has a more elements of a conventional rnb song. Daniels sings about a woman and the way she “opens up his mind” as levels of sharp electronic sounds gradually gain presence and become more prominent towards the end. This gradual progression ensures that his music is both dramatic and easy listening.

My favourite track on the EP, however, is the next track Voodoo Holiday. Here, Daniels’ vocals are much more distant, hiding behind production which is at its’ most layered and complex point on the whole record. The production, a harmonious marriage of simple organic elements with heavier electronic sounds give his lyrics of escaping reality and getting lost in a fantasy the perfect atmosphere, while the use of a break in the noise to showcase a set of calm acoustic guitar is a lovely little escape of it’s own for us. In fact, the name, Voodoo Holiday is the perfect way to describe the song, it’s like a weird magical getaway that takes us away from reality. The song leads out quietly into the final track, Loss of Ego, which then rounds off the EP on an even dreamier, more ambient note.

It’s always nice to hear an artist who is pushing the boundaries of his genre and taking influence from outside of it in a way that is not directly copying anyone. And it’s even nicer to hear it being done with a more traditional soulful voice. Alby Daniels is unique in that he fuses the tradition with the modern to create a sound that is very current today and has a lot of potential. I’m definitely hopeful for what is next to come.

My Rating: 7/10

Release Date: 13th February 2012

Label: Hyperdub Records

It’s difficult for me to write an unbiased review for Kindred, because I almost loved it before I heard it. I love Burial’s sound. This 3-track EP has all the hallmarks of his distinguishing sound, from the 2-step inspired beats to the emotive vocal samples, but by no means does it sound the same as any previous release. It’s almost as if he has developed his own genre and every release is the next step of evolution for that genre. What sets this one apart and moves it forward is it’s unpredictability.

You’d think that it takes a lot of stamina to listen to a track that is almost 12 minutes long, but the title track is over before you realise. Kindred starts off the EP with crackling murmurs and rainfall but we are soon hit with that distinctive Burial drum beat and gradually building layers of dark heavy bass and multi-pitched choppy vocal samples, voices conveying emotion rather than comprehensible words. Each one of these elements is showcased individually by unforeseeable pauses in the beat, as if they were the snapshots, the separate fragments of the gritty quiet noise inside the gloomy city, both menacing and hopeful.

The second track, Loner has a more uplifting feel than a typical Burial production with strong techy sounds under several levels of ambience, suggesting a lonely rave scene that is far away in another space and time. Using such few sonic devices, he has again managed to create a great contradiction which feels bright and elevated while remaining dark and distant.

Many of us have already heard a snippet of my favourite track off the EP, Ashtray Wasp featured on the Hyperdub show on Rinse FM in December, but hearing it in it’s entirety is a completely different experience. This ever-changing journey of a track starts off with a foreboding sense and slowly turns to despair with desperate vocal samples which are for the first time in this release, completely decipherable. “I want you. I used to belong to you” echoes throughout, until the final part, which becomes a montage of cut up samples put together in a beautiful harmonious melody with twinkling glitchy sounds alongside, ending the EP on a higher, dreamy note.

Kindred may not have as many pretty melodic samples as other Burial releases, but it still has the power to grow on you with every listen. He has certainly advanced his already unique sound here, finding more subtle ways to deliver conflicted mood and emotion within the gritty concrete city so powerfully and elegantly. The starts and stops and chops and changes make for slightly uncomfortable listening, but are perfectly reflective of true emotion which is never clear or linear, and it ensures that his production is incomparable with anything I have come across in music today.

So, cop it like it’s hot! right here from the Hyperdub website.

My Rating: 9/10