Pure Rollage mix

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OK. Here’s a mix of fresh, deep dub 130. Basically my tribute to Beneath. This is pure rollage. Obviously the Beneath stuff is the best dub in the world right now but there’s lots of good bits in this mix. I particularly like the blend of City Cycle and Send, and the blend of Waterfalls and the Vibe is so Right. This goes off live. The Ramadanman refix is very special, David played this out quite a bit. No-one’s got that.

Check it, this is a good’un.

Beneath – Wip – unreleased
Beneath – Lost – unreleased
Beneath – Name Droppin’ – unreleased
Cooly G – Dis Boy – Dub Organiser
Beneath – Send – No Symbols 001
Mala – City Cycle – Tectonic
Beneath – Seduction – No Symbols 002
Grievous Angel – Torn Apart – Devotional Dubz Erzulie04
Simpleton – Weh Dem Hear – Grievous Angel Remix – unreleased
Beneath – Rough – No Symbols 02
Grievous Angel – Kleer – Forefront
Rubi Dan Vs Grievous Angel – BadBoyz – Unreleased
DJ Ma1 – Waterfalls
Chrissy Murderbot – Vibe Is So Right (Atki2 Remix) – Planet Mu
Ramadanman – Blimey (Grievous Angel Refix) – Unreleased (and never coming out!)
Beneath – No Limit – Unreleased

File is here.

Mix for Blackdown Soundboy Volume One: Redux

blackdown soundboy mix volume 1
Martin Blackdown Clark was kind enough to let me remix Margins Music, his first album with Dusk, and to promo the release I did two mixes for his blog. This is the first one, re-mastered, tidied up a bit, and now available straight off this site rather than via a fileshare service. It’s a selection of hiphop, r’n’b, wigged out future garage, grime and dubstep, all in dub or refixed, and quite a bit louder and punchier than first time round.

Big up Martin and thanks to Shaun Bloodworth for letting me use this amazing photo of the light at FWD / Plastic People for both this mix and for the label of my Soundclash1 release on Keysound.

It’s here: http://www.grievousangel.net/GAMixes/GAMix4BlackdownVol1-REDUX.mp3

Please re-post / re-tweet etc.

Tracklisting:

0:00 Intro
0:09 MF Grimm / DJ Premier – International Rules
2:04 The Streets – Lets push things forward (Roll Deep Remix)
4:50 DJ Premier / Gangstarr: Mass Appeal (instrumental)
5:05 Blackdown: Beta
7:50 Joe: Rut
13:30 Untold & D Franklin: Beacon
14:30 Prince: Soft and Wet (screwed and chopped)
16:09 Pearson Sound: Gambetta
18:08 D’Angelo: One Mo Gin
22:21 Shortstuff: A Rustling
25:33 Prince: Black Sweat (Grievous Angel Refix)
27:45 Musical Mob: Pulse X
27:45 Blackdown: Defocused
28:56 Big$hot: Glitch
30:57 Ends

Playing in Manchester Friday 11th!

MarginsMusic
I am playing in Manchester on Friday 11th at Band on the Wall.

The line up is AMAZING!

Dusk and Blackdown playing Margin’s Music live – I remixed the album, got them into Ableton, now they’re playing it out! But with a massive twist – they’ve got a whole live band too, including Farah. AAAAAAAANNDD… their show is featuring Durrty Goodz!!!! Being on the same line up as Durrty Goodz is an ambition fulfilled 🙂

But that’s not all… there’s United Vibes (LHF Vibzin), Scratcha DVA, AND Starkey, who is absolutely fantastic live! I’m so glad to be playing with him again. He’s electrifying!

Dunno when I’m on – probably fairly low down the bill given how big the names are – but it’s going to be a massive night!

£10 to get in. 9.30 kick off. Tickets on sale now from here.

Free downloads going up on Bandcamp

I’ve got a page on Bandcamp for free downloads.

I’ve got a load of tunes now, too many for any future album. I’m going to give away some of the better ones.

There might be some paid-for ones in the future. I also want to start hosting dubz in there too when I work it out.

I’m at http://grievousangel.bandcamp.com

I’ve got two tracks up so far. Darkness is that folk / garage tune that Mary Anne played and which was up on my site for a while. It’s good, I’d do a better mixdown now though. There’s a load more folk tunes I want to do. There’s an Eliza Carthy sample that’s been going through my head for months, for example.

Erzulie is this wonky thing that’s the companion piece to Harpy (on the flip of Soundclash).

There’ll probably be some funky up there soon.

Starkey hits sheffield this thursday!!!

Starkey is at Sheffield’s DQ this thursday 8th October. Do not miss, he is AMAZING live. When I played with him at monsterbass in Bristol he utterly destroyed the venue. He plays high energy dubstep with a strong wonked out flavour and a bit of bassline and crunk, if you’re lucky a load of grime too. He is truly one of the best djs in the world and an electrifying presence behind the decks. The fact that he’s playing such a small venue is going to make for a truly legendary night. Check out his amazing gutter music 12 on keysound, the surety goodz vocal is fantastic while the VIP is a true anthem. It tore up radio 1 when blackdown dropped it during his mix for mah.

Reynolds in contrarian wobble-embracing shock!

I do love Simon and regularly defend him against his detractors. But his natural contrarianism can lead him to some strange value judgements at times. To wit, he hath discovered 16 bit and seems to be arguing that this is is an example of post-Spongebob wobble being, well, fun, in contrast with the half baked noodle of the deeper side of the scene. (via blissblog.)

Which is fine in itself – I have often defended, online and in print, the better-quality elements of  jump-up style dubstep as the natural successors of the Prodigy but… oh Simon! Do keep UP!

Yes you are quite right that “this is not only a good laugh but actually quite musical i think”. “We” like 16 bit. We liked that track a long time ago and we still do – we being, you know, proper dubstep heads with taste and everything, the fans going dribbly over Joy Orbison and apparently being all chin-strokey about it.  But no, we’re NOT “all for these bastard children of “spongebob” because we actually know what that means! Because it does not typically mean Prodigy-style jump up splattercore that still has its roots in grime/garage/jungle. No – it means heavy metal student toss. That’s the reality – if you actually go to the clubs and know the scene and how it develops.

(Just as we knew that wonky within dubstep was not conditionend and defined by ketamine, even if drugs are – newsflash! – used by some producers some of the time. But that is an old and ugly dispute in which there is no profit in revisiting.)

If you want more of that big and bouncy rave-y wobble that’s actually good, then check out Starkey (on, let us not forget, Blackdown’s label – yes Blackdown, who has led the charge against content-free wobble-metal), and yes you’re already on Raffertie, well done, and check out Sully’s heavier bits, and so on and so forth. All of whom we’ve been talking about for, literally, years. (Yes I know Simon likes Blackdown and his CD! That’s not the point…)

So yes, you’re right, but you’re a bit late, but then again so what, that doesn’t matter, and good luck to you for bigging up Raffertie and Zomby. Fine.

What DOES matter, to me anyway, is that Simon has drawn what is in my view an uttery false – and quite damaging – opposition between 16bit and Joy Orbison (with whom I played on Friday) – false IF YOU ACTUALLY KNOW WHAT’S GOING OFF IN THE CLUBS. To wit:

“i mean, where would you rather be–in the midst of a crowd aving it apeshit to this sort of scato-splatterbass? or in the midst of headz sagely nodding (off, more like!) to moist ‘n’ milky minimalism such as this “talisman” of a track?” By which he means Hyph Mngo.

Now I suspect Simon hasn’t seen Hyph Mngo played in a club or dropped into a mix himself.  I have done both.

And Hyph Mngo FUCKING GOES OFF. It is a BANGER. People go APESHIT MENTAL TO IT. It is a solid gold RAVE TUNE. I mean… those sampled diva vocals… Simon can articulate what they mean, what they convey, in terms of hardcore and smashing the dance far better than I can. He played it as his last tune on Friday. Pulled the previous tune back, played Hyph Mngo from the start, stupidly long intro and all, and of course, most people in the room weren’t such music nerds that they’d heard it loads before. But they got it immediately. It was massive. Earlier in his set Joy didn’t play 16bit, or Spongebob, but he opened with some grime bangers, played lots of dirty (AND tasteful) garage, lots of crude and crunchy bassline – loads of tunes that link directly into 16bit. And it all fitted perfectly with Hyph Mngo.

So to dismiss Hyph Mngo with a flick of the wrist just because Hancox or whoever likes it is just silly!

And if Simon only knew the antecedence of Joy Orbison, he would be scrambling to interview him. Seriously. Becuase it’s fascinating, it confirms all his most important ideas in the most visceral, physical way possible, it brings to life much of what he has been observing and theorising for years. Literally. But that’s a nugget of information I am not at liberty to share at this time. However… Simon, get in touch with Joy Orbison, absorb the rest of his tracks, find out where he’s from and where he’s going.

You’re going to love it!

And while you’re at it, get into some uk funky – and check out what happens when Zed Bias and MJ Cole play it! And the new broken / latin stuff that’s coming in! Best scene for years…

DubTech mix

I’ve done a mix of dubstep that’s been influenced by techno, house an electro.

Vinyl mix. It’s quite lush and smooth. There’ll be a more jagged, jump-up one soon – and it’ll be volume 4 of the Dubstep Sufferah series.

It’s here. 174.7Mb 320. Tracklisting is in the lyrics tab:

00:00:00 Scuba – Outmost (Abucs 004)

00:05:15 A Made Up Sound – Sleep walk (Subsolo Records sub002)

00:08:53 TRG and Dub-U – Losing Marbles – 2562 remix (Hotflush HFT002)

00:12:33 TRG – Put You Down (Ramadanman Refix) [HES 004] 

00:14:35 Martyn – All I Have Is Memories (Apple Pips Pips001)

00:20:02 Martyn – Broken (REVOLVER011)

00:24:13 2562 – Kameleon (Tectonic TEC016)

00:27:34 Martyn – Shadowcasting (REVOLVER011) 

00:32:08 Martyn – Twenty Four (3024-001)

00:36:44 TRG  – Broken Heart – Martyn’s DCM mix (Hessle Audio HES004)

00:40:47 Martyn – Suburbia (Apple Pips Pips001)

00:43:43 2562 – Enforcers (Tectonic TEC020)

00:47:39 Skream – Lightning (TEMPA 016)

00:50:49 Ramadanman – Carla (Soul Jazz Records SJR 183-12)

00:52:38 2562 – Techno Dread (Tectonic TEC020)

00:57:53 Benga – Electro Scratch (RNG005)

01:01:55 Ramadanman – Offal (Soul Jazz Records SJR 183-12) 

01:06:10 Benga – Electro Music (TEMPA 026)

01:08:51 Headhunter – Sleepwalker (TEMPA 019)

01:11:48 Quest – Deep Inside (Deep Medi Musik Medi-07-Q)

01:16:16 Ends

Grievous Angel folk tune makes FactMagazine’s Top 10 Tracks

Following on from Lady Dub making Pitchfork’s records of the year (courtesy of Blackdown – thank you! and thank you even more for the album!) I am delighted to find that FACT Magazine have made one of my new tunes one of their top 10 tracks of the week.

“FactMagazine – Top 10 Tracks: Week 4

GRIEVOUS ANGEL ‘DARKNESS’ (UNRELEASED)

One of dubstep’s most diverse producers expands his palette further, cutting up Sheila Chandra’s vocals from the recent Imagined Village album. As rude as folk gets? — Tom Lea”

This is one of the new “folk” dubstep tunes I’ve been working on which premiered on Blackdown’s show last week – some of you have heard me whittering on about this new direction. I’ve been listening to a lot of folk recently, little of it is terribly pure, but there’s something about a really good vocal folk tune that makes the hairs on the back of your neck stand up and bring tears of joy to my eyes. My relationship with folk is fairly shallow, but it does go back a loooong way. (One day I will tell you the story of when I played the Stonehenge festival with a very rough and ready folk band. We walked ten miles to the stones, and ran ten miles back pursued by police helicopters! But that’s a story for another day, and probably best re-told, and exaggerated, over a beer, face to face…) And in the last couple of months, I’ve become aware that there is a deep connection between folk music and UK Garage. (Yes, I know you’re probably sniggering at this point, but you’re not the one who’s just had his tune bigged up by FACT magazine, so hear me out! 🙂 ) For, it seems to me that good folk music and good garage both share a sense of rollage, a sense which is obvious with UKG, but which to me is also prevalent in the drop of folk music… the way the rhythm hangs in the air, “the one” being dropped or ellided with the same grace as in very fine garage. To me, there was a sense that the two genres needed to come together, and blow me down if it wasn’t a piece of piss to do. The first version of the tune came together literally in half an hour – the edit of the original, the beat, the sawtooth bassline, all of it – which is much more quickly than most tunes happen. Frankly, it was almost spooky. The damn thing nearly wrote itself.  The sample, BTW, comes from an agreeably impure source – an album called The Imagined Village, which is a hybrid record put together by the guys behind Afro Celt Soundsystem (with a big hand from Billy Bragg, it seems) where they marry some serious traditional English folk musicians (Martin Carthy etc.) with some dance people (well, the afro celt soundsystem drummers, who are Indian, and bloody good), some rock people (Weller! jesus…), some left field people (Tuung) and, on one track Benjamin Zephaniah. So – some deeply untrendy names in there, and its on real world, so the usual caveats apply. But there’s some truly amazing music on there (though it gets a bit fiddle-de-dee towards the end), and it’s all traditional folk songs that have been re-arranged, sometimes to stunning effect. It’s the sort of thing I would normally steer well clear of, but I saw some of their performances from the Cambridge Folk Festival on the TV and, well, it totally fucking rocked! The combination of folk voices with big electronic subs and heavy drums and tablas was really exciting and the crowd were clearly going mental. And straight away I thought, “This could be dubstep…” Then, when I bought the CD, some of the tracks jumped out as being ripe for a garage makeover – in particular a version of the old folk tune “The Welcome Sailor”, which had some extremely elevated acoustic backing alongside vocals from Sheila Chandra, the classical Indian singer, whose voice suits these kinds of tunes down to the ground. Making it work was pretty easy and I for one love the result (and I know at least one or two other people like it too) – I think it’s the best thing I’ve done since Lady Dub to be honest. So go to the page and check the link for tunage. It’s very unlikely to come out, and I’m taking it down on the 23rd, so fill your boots. I’ve got my eye on one or two other folk things, but when they’ll happen I don’t know – there’s quite a long to do list at the moment!

Lady Dub in at number 8 in Pitchfork’s Dubstep 2008 charts!

Check it out… in with some amazing company too! I.e. I make it in there against stuff that hasn’t even been released yet. This is a big thrill!

Grime / Dubstep | Pitchfork
Top dubstep singles 2008:

1. Darkstar: “Need You”/”Squeeze My Lime” [Hyperdub]

2. Mala: “Miracles” [Deep Medi]

3. 2nd II None: “Waterfalls Peverelist remix” [Heavy Artilery]/”Clunk Click Every Trip” [Punch Drunk]

4. Kuma: “Dawn Stepped Outside Horsepower remix” [Immerse]

5. Shup Up and Dance: “Epileptic Martyn’s No Strobe Mix” [Z Audio]/TRG: “Broken Heart Martyn’s DCM Remix” [Hessle Audio]

6. D1: “Oingie Boingie” [Tempa]

7. Skream: “Hedd Banger” [forthcoming Tectonic]/”Angry World” [unreleased]

8. Grievous Angel: “Lady Dub 2Step Remix” [Devotional Dubs]

9. Quest: “Stand” [Deep Medi]/Silkie: “Horizon” [unreleased]

10. Ramadanman: “Blimey” [Hessle Audio]

11. TRG: “Feel For You” [Subway]/Al-Haca “Kryptonite TRG remix” [unreleased]

12. Sully: “Trackside”/”Jackman’s Recs” [unreleased]

13. Pangaea: “Router” [Hessle Audio]

14. LD and Cluekid: “Guerrilla Warfare” [unreleased]/ Kode9 vs. LD: “Bad” [Hyperdub]

15. Cult of the 13th Hour: “Wickedness” [Soul Jazz]