Semiotix ft. Tonn Piper & Nian Dub – Dark Arts EP – NB Audio

NB Audio (Neo Babylon Audio) is a new label for me. After looking at their page, they reign from Manchester and cover drum and bass, dubstep, reggae and hip-hop done by a ton of indy artists. I say “indy” only because I haven’t heard of any of these guys. If the this EP is any indication of how they roll, they have my attention.

The Dark Arts EP is their 5th release with Semiotix featuring Nian Dub & Tonn Piper.

Dark Arts is a stabby little number with an MC on vocal duty introducing you to the EP. There’s nice little tap and reverb sparse throughout. For the most part, it’s pretty minimal, but it works as an introduction to the EP, which is eerie and almost sci-fi themed.

The Hidden is all about some techy atmospherics and is my pick off the EP–a nice dark and gritty stepper. Think of Blade Runner meets Alien but not as scary but about as creepy. The many different layers complement each other really well. When I think that they have enough going on already, they bring something else in and it makes it even better.

Sleep Later is quick and catchy. I find myself really enjoying the breaks, maybe because there is absolute silence for a  split second after each one. I like to think this one is named after that feeling you get when you start to dose off, but then the caffeine starts kicking in keeping you going for a bit longer. Yeah, it feels like that. Definitely jammable.

Pariah does a lot of starting and stopping. I’m not really sure where this one is going, but it’s a good track to end the EP on.

Give it a listen.

Operating an Illegal Dancehall

The day you decide to dip your toe into the rave promotion waters is also the day you need to come to grips with chaos. Whether it’s mildly annoying hotel rate increases or the entire show bottoming out when your venue tells you to get fucked, you better be ready. You plan, you plan again, you plan for your alternative plan, and you try to find people competent enough to carry on if you get hit by a bus or some Asian gang opens fire on your front door.

Thanks to the budding local media frenzy, Dallas city authorities were gradually becoming aware of the growing trend of raves and the connotations the word carried with it. Yep, drug use was a problem, but where isn’t it a problem? People liked to get fucked up. Obviously, people can’t be allowed to enjoy themselves without legislation, so local municipalities started to step in to remedy that shit. With the Drug Enforcement Administration’s (DEA) assistance, the City of Dallas began updating and enforcing old, inane ordinances designed to limit late night public gatherings in the interest of public safety (kinda like Footloose with less Kevin Bacon). These ordinances were often found under the city’s Dance Hall permitting rules. With the aforementioned media hype and the DEA alarm bells ratcheting up the blather, it made local authorities believe that ANY event with electronic music was a drug-infested wasteland of phat pants and glitter.

Take a look at the ABC news affiliate report from November of 2000. Foreshadowing at 5:50.

Now anyone that knows anything about dance music knows drum & bass and jungle shows in the States weren’t anything like the video above…it was, generally, the antithesis of that trope. More militant than candy. But because the music didn’t have words and a DJ played the tunes it was all lumped together.

For a few years, Konflict -aka Kemal and Rob Data- were the biggest thing in drum & bass. Thanks in large part to their monster hit Messiah. A tune so large that it was rumored to have caused a bidding war, Suge Knight-like threats of violence, and potential lawsuits before finding a home on Renegade Hardware. We were able to get the only Texas date for their “Messiah Tour” in December of 2000 and that was a huge coup for us…unfortunately chaos has a way of kicking you in the dick.
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The first omen came when we lost our primary venue due to a date conflict only after the booking was confirmed. When we couldn’t come to an arrangement with the original site, we had to scramble to a secondary location called the Nu-Line Warehouse – an unfinished, two-room warehouse space in a semi-industrial part of Dallas with no liquor license and dubious ownership. We felt reasonably good about the change since the warehouse had hosted quite a few events for months without any issues. They also had contacts within the Dallas Police Department and were able to secure off-duty officers as added security. Finally, the building was larger than our original venue and we felt like Konflict could fill the added space easily.

The day of the show, things went swimmingly. Kemal and Rob arrived without any issues, but were exhausted from playing the previous night and just wanted to sleep. Since we didn’t need to entertain them it gave us time to get the venue setup. We brought in extra sound and were able to ease into the evening rather than our typical mad scramble.

At 10:30, the building was filling up rapidly (almost too quickly, in retrospect) and we’d made more than enough cash to pay out everyone early. I decided it was time to go get Rob and Kemal, so I prepped to leave. I have a vague recollection of our door person telling me there was too much cash in the drawer and since I was already on my way out, and against my better judgment, I figured I’d pay Rob and Kemal early too. I stuffed the cash into a couple of envelopes, put those in a bank deposit bag, and tried to look casual heading to the car.

Carrying that much cash around Dallas is an awful-fucking-idea. On the scale of awful ideas, it ranks up there with drinking a twelve pack of beer on the roof of a three-story house in the rain. Car-jacking was still a pretty common thing in those days and all it’d take is someone mildly observant with a little motivation to be a few thousand dollars richer. Then there were the police. (Try explaining to a cop why you have thousands in cash, in small bills, in your possession and see how that works out for you.) I was overwhelmed with anxiety driving around with this money. It was so bad that even though I was incredibly hungry, I wouldn’t get out of the car or idle somewhere in a drive-thru because I was too afraid to be stationary for long.

When I got to the hotel I pulled the envelopes for Rob and Kemal, stuffed each in a pocket, and sat there wondering what to do with the rest. I remember having a lengthy conversation with myself about what to do with this money…stuff it under the seat? Put it in the trunk under the spare tire? Stuff it down my pants and hobble awkwardly to the rooms?

I don’t even remember what I did, but I don’t recall having a limp.

When I got to the room, both Rob or Kemal were still asleep and nowhere near ready. They asked that I come back in an hour and refused to the take the cash (dicks!). With no other choice, back to the venue I went with loads of anxiety-inducing twenties.

As I pulled up to the venue, the internal dialog kicked in again. What am I going to do with this money? I decided rather quickly that I could just stuff it under the seat and if a car thief REALLY wanted my 1995 Acura Integra, well… Anyway, as I was stuffing it under the seat some ravers walked by me and I convinced myself that they’d seen me shove this cash under the seat. Focused on them, I pocketed the cash again…which turned out to be an awful mistake.

Pockets bulging with the accursed bills, I moseyed inside to check on things….within minutes all hell had broken loose.

I’ll try to set the scene…I’d just checked with Todd and Adrian, who was mid-set, and the sound was loud and crisp. We were about 3/4ths full and people were going bananas already. I think I checked on Chris and Bill too, and the next thing I know we were confronted by an incredible commotion. Suddenly every exit, window, and even a few new holes in the walls were filled with armed Dallas Police in full, black tactical gear. Body armor, facemasks, and semi-automatic weapons drawn for war. There were constant, and very confusing, shouts of “DON’T MOVE” and “GET DOWN ON THE GROUND!” over the dying sounds of drum & bass. Guns were pointed in people’s faces and, based upon some sort of predetermined order, everyone was made to line up against the wall or thrown on the ground for searches.
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Photo courtesy of the Wall Street Journal.

I’m told that IDing everyone, searching everyone, and the subsequent determination to release or arrest took a long time, with most people sitting on the floor patiently waiting their turn. However from my perspective this all happened in an instant. They seemed to have a pretty good idea of who they wanted to detain which later lead us to speculate that police were in the building before the raid attempting drug buys.

Eventually I either volunteered, or someone told them, that it was our show. Of the five of us in Covert Ops, only Bill and I were detained for any length of time. My pockets were checked, the cash was seized and I was marched to a waiting car by several officers. As I was lead to the car, Bill was already waiting in it, which seemed odd to me. Then again this whole fucking thing was just odd. (And I wish I could say this was the first time I’d been in the back of a cruiser, but it wasn’t.)

I wasn’t concerned because I hadn’t really done anything wrong (ha!). As we were sitting in the car I remember asking Bill what the fuck all this was about and both of us were wondering when we’d get out of this shitty remake of Bad Boys. I wanted Martin Lawrence to pop out and fuck up some Ini Kamoze lyrics, but it wasn’t gonna happen.

The same questions kept churning in my mind. Why do you need 50+ officers with weapons drawn for this party? We weren’t outliers in a small town with nothing else going on…hell, there was a much larger party going on just a few miles down the road that was allowing anyone under 18 AND would more closely resemble the alarmist news report I posted earlier. It was almost like someone called the goon squad to report a live meth smoking donkey show just to get us shut down.

I’m guessing that DPD suspected that the venue was a drug den and when it wasn’t, they got more than a little upset. They had to have something to show for this whole deal even if it was just a petty charge. I’m sure the cops were very disappointed that I was clean and not finding much else to pin on me, they seemed to talk outside of the car for a long time. Finally they took us out, made us count the money from my pockets ($4,401) twice, notated it on a seizure form, told Bill to take a hike, cuffed me, and told me I was under arrest for “Operating an Illegal Dancehall”…

That’s right…after all that dramatic, guns drawn bullshit for some dancing 20-somethings, they charged me with a violation of Dallas City Code – Volume 1 – Chapter 14 – Class E Dance Hall Permit statute…specifically section 14-14(a):

(a) Any person who violates any provision of this chapter, except Section 14-2.1 and 14-3.1, upon conviction, is punishable by a fine of not less than $200 or more than $500. Any person who violates Section 14-2.1 or 14-3.1 of this chapter, upon conviction, is punishable by a fine of not less than $200 or more than $2,000.

I was taken to jail and had $4,401 in cash seized for the equivalent of a traffic ticket.

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In hindsight, I now know their raid was a response to the media and federal government pressure to come down on “raves” and they hoped to nab a promoter with marked money. That would’ve indicated that I had some hand in drug buys or sales. Sorry dudes, but all the cash came from people coming into the venue, none of it changed hands inside. It must’ve been a real boner killer for the police to only net a half-dozen kids with minor amounts of recreational drugs and my dance hall permit violation.

I like to think that this whole thing showed them they’d wasted a lot of time and effort. However I’d be taking too much credit. For what it’s worth, they did seem to give up the incredibly dangerous in-show raids. But that just meant that their new tactic was to threaten/cajole venue owners BEFORE events even happened…a process which was detailed in THIS Dallas Observer article from 2001.

I spent about 16 hours in Lew Sterrett Justice Center (what a fucking name) freezing my ass off. I remember standing in line at the phone and the guy in front of me was in for his fifth DUI and he was out within the hour. I, on the other hand, got moved “upstairs” and shared a cell with a guy picked up for armed robbery and a dude that had bowel trouble and no shame.

Meanwhile the rest of the guys in Covert Ops were at Bill’s house alternately raging over the injustice of the whole thing and scheming up ideas for breaking me out. Oh, and finding cash to pay Konflict too. Unbeknownst to me, and complicating my situation, the police were adjusting my status from “held on suspicion” to “arrested” as if they couldn’t decide what to do. That in turn was affecting my bail status.

Strangely, once I was in jail I never saw another cop again. Guards yes, cops no. They never questioned me about any drugs, where the $4401 came from (the door, duh!), or why I was carrying it around. If they were so damn sure I was dealing then why not try to grill me about it or get me to flip someone? I’ve had other friends get drilled for way less.

When I was finally taken down to see a judge sometime on Sunday, the bailiff read my charge and the whole room laughed, including the judge. The judge actually asked me what I was even doing there and how long I’d been there…When I told him I’d been there since just after midnight on Saturday, he released me “immediately” and I walked out three hours later.

But the charge still stood.

It wasn’t until 11 months later that my case was heard in front of another judge and dismissed. My lawyer immediately asked for the seized $4,401 back and was told by the prosecutor handling the case that if I pursued the money, they’d file the charge again and add additional charges (for what?!). Alternatively I could try to get the arresting officer to sign a release for the money…if I could find him. Since I was already out about $2,000 in legal fees and in the hole for the $4,401 I opted not to push my luck with the prosecutor. I took my dismissal judgement and got the fuck out of Dodge.

I spent the next six months trying to track down the arresting officer using the only legible information on the seizure form, a badge number, but failed. Hell, I even tried just getting someone to admit that I’d been arrested and that the seizure form showed they had my money. IF an officer answered the phone, they’d typically just hang up when I asked about having my funds returned or if they were chatty they’d try to talk me out of pursuing it further. None of them would give me a name to go with a badge number. To this day the City of Dallas still has our $4,401 sitting in some account collecting a reasonable amount of interest.

During the time I was fighting with Dallas over the money, we kept doing our shows every few months, but Konflict was no longer Konflict. Their disillusionment with the drum & bass culture in the UK was festering during the Messiah tour and it reached a breaking point soon after. The Konflict name was deprecated and Rob Data disappeared. Kemal began touring and releasing tracks as himself.

We got another shot at bringing Kemal back a year later and we grabbed it with both hands. This time there’d be no chaos and we had our venue ultra super secured months and months in advance with a much nicer, fully licensed bar named Trees.

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Below is the audio from Kemal’s set that night. It turned out to be an incredible show with a packed, up-for-it crowd. After the final tune of the night we gave a collective middle finger to the City of Dallas for trying to keep this sound away. They failed and we prevailed.

I still listen to this set and crack a smile at the absurdity of the whole thing. We lost $4,401 and I lost a night of my life, but it turned out to be a valuable lesson in dealing with reactionary city government and law enforcement…not to mention an interesting dinner party story.

Kemal - Live @ Critical 2.001 - Trees - Dallas, TX - 12.19.01 by Wes - Shadowboxing.Org on Mixcloud

Beats & Pieces – Bungle – Alone EP

**Editor’s Note: Adrian Scientia wrote this piece, but his precious Macbook suffered a long and painful death, so I’ve stepped in to post it for him. The words are his own.

Bungle delivers an incredible release, The Alone EP, on Doc Scott’s 31 Recordings imprint, which has proven to be unstoppable since its “relaunch” in 2013. They have always pushed DNB’s boundaries, rhythmic structures, and arrangements with amazing results. Bungle is no exception and an excellent addition to this stable of producers with this four track EP.

Alone kicks things off with a nice stepper that simply gets to the point with a rumbling sub and cracking snare toying with nice synth stabs. The synth is sparse and tasty, spread out in the mix to add a nice depth into the breakdown. Allowing you to catch your breath before riding it with the sub igniting the spark to get moving again.

Looking Back is my favorite cut off the EP. The tune is so deep and exploratory with roving subs and an ethereal vocal floating on top. An atmospheric roller with more bite than what one would expect from the sounds used, but fits into primetime or late night roll out biz. There’s been a absence of straight forward tunes like Looking Back and Alone that a DJ can blend for a killer mix and let the beats ride.

Arcadia delves into the newer style of track I have been completely getting off on…minimal elements arranged to create complex percussive runs. 31 and Exit kill it with this style and Bungle does the damage too. Fast Forward closes out the EP with a heavier track that gives me a vibe reminiscent of another recent 31 release by Vromm. There are elements of light and beauty in the sparse melody and it plays well plays over mechanical breaks answering to neurofunkish stabs.

An essential purchase.

Pre-order Bungle’s Alone EP HERE

Pearsall – Surgical Sounds: The Doc Scott Tribute

I just tweeted a few minutes ago that I was on the hunt for a mix to listen to and within minutes I’d stumbled on Sonic Rampage boss Pearsall’s Surgical Sounds mix. A proper tribute to the drum & bass legend Doc Scott.

Tracklist:

01. System 7 – Interstate (Doc Scott Remix) (Butterfly)
02. Empirion – B.E.T.A. (Doc Scott Remix) (XL Recordings)
03. Spring Heel Jack – Hale-Bopp (Nasty Habits Remix) (Trade 2)
04. Olive – Miracle (Doc Scott Remix) (RCA)
05. Nasty Habits – March (31 Records)
06. System 7 – Rite Of Spring (Doc Scott Remix) (Butterfly)
07. The Art Of Noise – Something Always Happens (Doc Scott Remix) (Indochina)
09. Doc Scott – Drumz ’95 (Nasty Habits Remix) (Metalheadz)
10. Doc Scott – Machines (Emotif)
11. Doc Scott – Swarm (Metalheadz)
12. Doc Scott – Tokyo Dawn (Earth)
13. Adam F – Metropolis (Doc Scott Remix) (EMI)
14. Nasty Habits – Shadow Boxing (31 Records)
15. Nasty Habits – Shadow Boxing (Remix) (31 Records)
16. Goldie – Kemistry (Doc Scott Remix) (ffRR)

Truth – The Ark EP – Firepower Records

Truth are a New Zealand based dubstep duo that have been a solid contributor to the sound since 2009. They have three albums under their belt, one of which, Love’s Shadow, was given away for FREE on their Soundcloud page. With various collaborations featuring the likes of Alix Perez, Noah D, DJ Madd, Datsik, and Lynx, among others, they have garnered a serious following. If you’ve never heard one of their tracks, think of some lower BPM bass with lots of layered melodies, broken beats and different footwork patterns making for varied tempos and atmospherics throughout their catalog. I recommend checking out their ongoing podcast Truth Chronicles which is an often featured 15-30 min set that really showcases their sound.

Well, they’re at it again at it again with The Ark EP. The title track leads you in with a vocal sample, then layers on some varied treble patterns and about half-way through, slowly drops the bassline. Next come the stretched out stabs while they pull you back in to enjoy it all together. Look Around features a Tupac sample and head-nodding beat. I really dig the strings in this one and the step-layered stab. Berlin is a housy little number, that you wouldn’t expect to find on a dubstep EP, but Truth like to try new things. I like to think of this track as a kind of intermission between the heavier tracks. And now back to the bass with Hysteria. It starts out with another vocal sample and strings again but at a different octave. Lots of breaks on this one — I get into something work-wise while this is playing and find my head nodding on the breakdowns. I would call Crimson down-tempo, but I don’t think I really know what that means. It’s has about the same feel as The Ark, but there’s more underlying melody to this one.  Come to Mind features Lelijveld who has been on several Truth tracks. It reminds me of a more trip-hop electronic tune, but it definitely has the Truth signature sound.

Cop it here.

Chorux – Polaris EP – Warm Communications

**Editor’s Note: I asked my long time friend and fellow Texan, Bitter White Guy, to step in and write up the newest Warm Communications’ release. He’s the owner/operator of the techno label, Sonic Convergence, a long time drum & bass fan, and a former dabbler in the devil’s music…trance. If you enjoy a bit of humor sprinkled in with sport-sy observations (and more than a bit of Univ. of TX bias), I suggest you follow him on twitter, @Bitterwhiteguy. Also, be sure and check out his other blogging work at BarkingCarnival.com. (I highly recommend “College Football Programs & The EDM Tunes They Should Adopt”). Big thanks to BWG! -Wes

It’s fairly amazing that one of the most consistently interesting D’n’B labels on the planet is based in the Texas panhandle. There are more cows within 100 miles of Warm Communications’ HQ than D’n’B weeklies. Well, there are more cows than people, too, so maybe that’s a bad example. Suffice it to say Amarillo’s not exactly a prime stop on the next Planet of the Drums tour. If it weren’t for the Internet, Mr. Looney would be the chillest ethanol plant worker you’ve ever met – or the main character of Kevin Bacon’s musical sequel to ‘The Air Up There’ – but thanks to a series of tubes he’s able to bring music to our ears. Thanks, Al Gore.

The Polaris EP features 4 tracks that range from the deeper edge of dancefloor movers to darker minimal(ish) D’n’B. My clear favorite from the release is Don’t Even Know, a track with a well-placed vocal sample, growly basslines, and enough melody to keep things flowing nicely. Fans of Seba & Future Engineers will enjoy this tune.

The rest of the release carries a different vibe to it; Polaris is a fairly standard ‘deep’ D’n’B track that isn’t unusual, though I think I now know what it sounds like when a Nintendo Gameboy climaxes. It’s All Happening is a minimal roller with clever snare edits, subtle melody, & a touch of amen break; Away From the Light thumps nicely and has enough complexity & layering to get your head bobbing. The breaks are well-timed and not overly long, which is a trait not found in enough tracks. Don’t Even Know and Away From the Light are worth a buy for me and all 4 are worth checking out.

Order Chorux’s Polaris EP HERE

A little Xtrah time

Greetings readers,

Chris here and for my first Shadowboxing assignment I was fortunate enough to be able to quiz Xtrah, UK based DJ, Producer and head honcho of Cyberfunk Recordings. I wanted to understand a little about him, his music tastes and what drove him to want to start his own label.

Chris: A few simple questions to get us started. What was the first Drum and Bass album you purchased?

Xtrah: The first album I purchased on vinyl was the speed of sound on RAM records if my memory served me right! Still draw for a couple of the tunes in that now.

Chris: Are there any individuals within DnB who have proved to be an influence on your production methods?

Xtrah: I’ve been inspired by Dillinja’s rawness a lot. I’ve always loved Breaks drum work and Noisia sound design, these guys have definitely made me think about what I’m doing when writing a track but I also have lots of inspiration outside of DnB.

Chris: Which studio hardware or software are you enjoying using the most currently?

Xtrah: It’s a split between UAD and Slate Digital at the moment. They are both so good!

Chris: Given the choice are there any songs out currently that you would love to remix?

Xtrah: Anything by Kendrick Lamar.

Chris: How is your time split on a monthly basis between studio and DJing?

Xtrah: DJ’ing once or twice a week and studio 3 days max at the moment! I have a pretty hectic schedule at this point in time. All for a good cause though.

Chris: Who outside of your current genre(s) would you like to spend some time in the studio with and why?

Xtrah: Quincy Jones or Trentmoller. Quincy for the mixdowns and recording techniques and Trentmoller for his synthesis techniques. Sorry I couldn’t choose between them.

Chris: If you were asked to curate a festival/event. Who would you choose for three headliners (no genre limitations)?

Xtrah: Noisia, Daft Punk and Kendrick Lamar

Chris: How do you spend your downtime when you aren’t in the studio or on the road as a DJ?

Xtrah: I’m a family man, I have two children that I love spending time with taking swimming and just out to fun places in general, or I sleep to recover.

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Chris: I’d like to cover a few points in greater detail. I first became aware of your work in 2012 via one of your Critical Recordings releases, Soundclash. Since then your release schedule appears to have been very fluent, with a steady flow of quality releases across a selection of some of the labels at the forefront of the genre. How has the journey been from your perspective since your first release in 2010?

Xtrah: It’s been really cool doing what I do, I’ve had the pleasure of traveling around the world playing music that I love and meeting all sorts of people some of whom I’ve created close friendships with and none of this would have happens if it wasn’t for the music. I’m really honoured that I get to see so many unique places and play in so many cool clubs across the globe. It’s really humbling!

Chris: For someone not familiar with your work, which tracks from your back catalogue would you recommend?

Xtrah: My first releases were on RAM records with a friend if mine called Basher. I made 5 tracks with him for his album (Ed. Note: 2011’s Transmission LP) so alot of people took notice when they saw this. After that I think one of the singles I made that people should be aware of is Contortion/Arise on Subtitles my first solo 12″. I was so proud when I signed this!

Calyx and Teebee are good friends of mine and I always loved what subtitles has done in terms of artists releases so it was an honour to release this. Bigups to Teebee

Set the Levels was another release I was real proud of…I learnt a lot when making it and it had a great response from the scene. Soundclash/Discordance on Critical…if you haven’t seen the Soundclash video you should check it! Dogs doing parkour, mad! So yeah, there’s a few of my releases I would recommend having a listen to get an idea of what my style is.

**Editor’s Note: Here’s the vid…I love basset hounds.

Chris: I feel that a large group of your releases fit in perfectly with the sound or style of the releasing label. Is this a conscious decision on your behalf when writing the tracks or does it just happen at a later stage?

Xtrah: Totally! I write something and like to place it where I feel the followers of that label will enjoy it most. That’s the benefits of not being exclusively signed I guess. I had several goals coming into this and have achieved them now hence why I want to start my own label, this is something that I honestly feel will help me grow as an artist in myself because now I have to create a sound for my own label! Exciting stuff indeed.

Chris: What made you decide to create your own label (Cyberfunk) and how did the name come about?

Xtrah: I just wanted freedom to do what I please really, I’ve been doing my research for a long time on how to start a label and make sure you’ve got all the angles covered (he says!). I’ve never felt freeness like it as I’ve always had to think about what if X or Y doesn’t like this etc… As I said now I have the chance to create a sound for the label. I love cyberpunk art and movies and I wanted to incorporate that with everything I love about DnB the breaks/funk/grooves etc, so Cyberfunk felt like the perfect way to describe what I want my sound to be. Futuristic but holding in to everything that is dear to drum and bass.

Chris: Can you give us a summary of your vision for the label?

Xtrah: I would love to turn into a branded label with a strong team of forward thinking producers but this will not happen over night if ever so for now I just want to put our good music that I love whether that’s from previously discovered artists or newcomers. If I’m into the music and believe in it I will release it.

Chris: What excites you most about the label and the releases you have planned?

Xtrah: Everything! That aspect of me having full control in what happens is absolutely amazing and why more producers haven’t done this yet is beyond me. Maybe I will eat my words in a couple if years, sign a deal and make music on one record label for the rest of my career in DnB or maybe we will be signing people in ten years time for them to release albums with us. That’s what’s most exciting. The unknown!

——————————–

I’d like to send massive thanks to Xtrah for taking the time out to answer these questions, particularly as he is in the middle of Cyberfunk’s first UK and Europe tour to celebrate the upcoming debut release. Two huge lineups in late March across London and Brighton respectively have seen Xtrah joined by the likes of Dillinja, Break, Skeptical and Total Science. CLICK HERE to check out the some fantastic photo’s from the London Cyberfunk event as well as details on the first release and other upcoming tour dates.

I know that I can’t wait to get my hands on the new release, so if you want to pre-order and hear samples of the tracks, CLICK HERE!

And just for fun, here’s Xtrah’s Metalheadz FabricLive Meatalheadz Mini-mix

Chris Artisan – Intro

Hello,

You’ve hopefully had a chance to look at my first article, where I had a chance to speak to Xtrah.  I felt that I should take a moment to formally introduce myself.

I’m Chris, a 33 year old DJ and promoter from the UK.  I’ve been involved in DnB since 1996 via a very healthy local scene at the time.  Since then I have accrued a mountain of vinyl and almost as many MP3’s.  It’s fair to say that my taste in DnB hasn’t really changed much since I first got involved and the “Metalheadz” sound was always my “thing.”

In recent years my musical tastes have diversified and I now have a very fond love of Hip Hop production and in particularly J Dilla and Madlib.  You can find a mixture of my mixes (DnB, Hip Hop and Dubstep) on my mixcloud:

https://www.mixcloud.com/thehiddennote/

Elsewhere you will find me spending a few hours a week on the PS4 or watching the NBA, of which I am a massive fan.  Although the fact I am a Pistons fan doesn’t tend to win me many followers.

I hope you continue to appreciate my content on this site, I always welcome feedback.

Chris

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