Enter The Invaderz.
I have been a fan of The Invaderz since 2001’s “Rocksteady” and immensely love the sound they bring which leans heavily on funky vibes and drum work…though they, honestly, do any style well. Following appearances on labels such as Metalheadz, Commercial Suicide, and their own Transmissions imprint, The Invaderz have now arrived with their debut long player, New Found Dialect. The album comes by way of Klute and his much much-respected brand, Commercial Suicide.
I have been absolutely blown away by this release. I did not anticipate these guys coming through after 10 years deep in the game with an album of incredible vibes, energy, and a return to styles that many people thought were done. At times, drum & bass gets ahead of itself in the studio wizardry department and many producers are sound design geniuses but lack the ability to get a tune rolling and putting some “stank” on it…like some serious stank funk! Invaderz comes through with flying colors on New Found Dialect, laying down the proverbial stank!
The album’s rolling opener, “Addicted,” features Deeleela dropping a nice vocal on a tune set to loosen you up for an album that’s about to get you moving for over an hour. Things are paced very well and get further fired up with techy bangers like “Bonesaw” leading you into the long-missed sound of a good ol’ amen rinseout “Burning Book!” I love a good amen rinser and “Burning Book” had the voices in my mind screaming MC GQ’s AWOL-era “HEY!” and wanting to signal for the reload. Tracks like that are such a welcome moment. More standouts include the deeper and funky “Getting So”, beautifully musical “Jazz Club,” “Love Vibrations,” and SB crew favorite, “Dream Is Over.” That last track is absolutely the epitome of robotic funk with basslines specifically created to get your butt on the floor. Fans of V, Dope Dragon, Full Cycle and the like will especially be feeling “Jungle Life” (another SB fav) and “Double Think”, both of which are modern takes on sounds that put the aforementioned labels into the buy-on-site category. The only off moment I experienced in the album was “Feel The Same.” It just seemed out of synch to me compared to the rest of the LP, but hey, that’s just my opinion…
This album was absolutely refreshing! New Found Dialect is easily running with Ulterior Motive’s recent album on Metalheadzs, The Fourth Wall. They’re polar opposites in terms of sound but bring top notch production and unique vibes all their own. The Invaderz work a musical and jazz tinged side to New Found Dialect that has been missed by many of us and is very welcome. In an age where drum & bass is beginning to take chances with vibes and energy again rather just coming through with high-end sound design.
Check the Commercial Suicide Facebook page for more audio previews as the release date gets closer.
I saw this track pop up in my Soundcloud stream and decided to check it out. KTN and Bro Safari were both superb drum and bass producers before they dove into their new projects, so it was cool to hear them go back to their roots with this one. KTN has nearly 3 millions Soundcloud subscribers which is just mind blowing. He is in the position to turn lots of people onto dnb and they might actually listen!
Hope you enjoy the tune.
This post isn’t music related. As everyone is all too aware Robin Williams took his own life months ago and that hit me a lot harder then than I ever expected it to for a myriad of reasons. I held off on posting this for a long time just to get passed the outpouring of memorial posts immediately following his passing and because I just couldn’t do it.
I’ve enjoyed watching, hearing and reading every single piece of Robin Williams career that I could. He always made me laugh even if I didn’t wholly understand the material as a little kid or I had seen the same piece a thousand times. When I found out he’d hung himself I was especially devastated, it was like a piece of my childhood died.
Anyway, Robin’s performance at the Metropolitan Opera House isn’t new (it was recorded in 1986), it isn’t rare (there are thousands of clips on youtube), and it might not be his best work but it means the most to me (especially that bit at the end). Hopefully the DMCA demons leave it be for just a little bit. Enjoy.
I love it when a promo slides into my inbox, I pop it into Foobar, and it makes me smile. It’s like rediscovering a little bit of sunshine…even if the music it contains is moody, foreboding or has a touch of nasty.
That’s exactly what happened when Protect Audio sent me Survey’s new EP, Object Relations. Sure, I’ve featured the German duo and their music before, including their recent Steam Berlin podcast. They’re kinda blowing up now, with forthcoming releases on Noisia’s Invisible label and Trace’s DSCI4 too. But Object Relations has done my head in and even I can still be surprised at the craftsmanship of an EP when it jams my earholes. Is that hyperbole? Maybe, but I don’t give a fuck. I’ve had this EP in a constant rotation since it arrived.
I’ll stop yammering, but if you want to know more about Survey or their current/future plans, you can head on over to DnBA and read their interview with them. In it they discuss the meaning behind the EP’s title, Object Relations, state of Berlin, its drum & bass scene, and Hardy’s propensity for excessive gas.
I have raved on Shadowboxing on how AMAZING Ivy Lab is and the incredible material they have been releasing. I am also a huge fan of the Ivy Cast they do and the newest edition has landed for you all to enjoy. You can expect to hear classic hip hop (BCC WHAT?!?!) as well as some of the freshest DNB out there and it is a pure treat. Seriously for heads in Hip Hop and DNB, not that you need any incentive to listen. ITS IVY LAB!
My frequently infrequent tune of the day post for today is Total Science’s Remix of Villem & McLeod’s Putting Down Roots on Warm Communications. Why? Cuz that sub bass is killing me, cuz!
Also included on the EP are vocal and instrumental releases of So Addicted featuring work by my favorite vocalist, Grimm. Masterful release from Total Science, Grimm, EHL, and the Warm Comm fam. The EP is available on vinyl and digitally right now from Red Eye Records.
I’m not quite sure what a renaissance man looks like, but Dallas native Chris Lund comes pretty damn close.
For the past 14 years, he has been crafting a musical world that earned him slots at flagship events like Burning Man and South By Southwest. A college professor with two degrees, one in audio engineering and the other in music composition, his FUTURE party series is one of the busiest underground events in Dallas. His tunes have charted in the top 10 on Beatport, TrackItDown, Hype Machine and Juno, He’s putting the finishing touches a new album for his longstanding music project, Left/Right. He’s creating fantastical art installations and is has his sights set on learning how to blow glass. Chris also models and makes quilts in his spare time.
Alright, alright so I made up that the last part but I’m telling you: renaissance.
I’ve followed Chris’s career loosely since around 2005. We had some quality music-nerd bonding time 2 years ago at Meltdown Festival. That’s where I first I caught a glimpse of just how passionate he is about producing, curating shows, and djing in general. My curiosity piqued, I started paying closer attention to Left/Right and what Chris had going on. And on. And on.
Now I’d like to give the Shadowboxing audience a chance to get to know him a little better, because I think you’ll find him as fascinating as I do. Chris was kind enough to take time out of his very busy schedule to give me a deeper look into his world. And that world looks like this:
You just came back from Burning Man. In 3 sentences describe your favorite moments of the event.
Overall this year was more personal and introspective for me. Some of my favorite experiences were interacting with strangers and learning about how people were making the large-scale, techy art we’re trying to push at FUTURE. If I had to pick 3 specific moments I’d say: first, our camp piling into a tank art-car and riding out to the trash fence at sun rise, dancing to the art car Kalliope, and finally spinning a super-deep set at Decadent Oasis and having people start dancing as the sun began to come up.
Left/Right at Burning Man Root Society 2012
Tell me about your FUTURE party. What can a newcomer expect of the night?
FUTURE is based on combining underground music and really immersive art-environments. Each event is pretty different visually and it’s been fun experimenting with new installations each time. The music co-founder Trespass and I try to push revolves around future garage, uk bass, and breakbeat. We’ve been really lucky to have a fantastic mix of crowds that attend…fashion people, underground music heads, and artists. Inclusivity is important to us- everyone is welcome!
Okay, that sounds hella cool. When’s the next one?
The next FUTURE night is a collaboration event with Full Access feat Gorgon City @ It’ll Do Oct 18th. We’ve been working to collaborate on that show for over two years now. We are happy to be supplying the art as well.
Various photos from FUTURE
What’s Left/Right been up to in the studio lately?
I’ve recently completed a couple tunes with Trespass that we are currently shopping. My biggest venture this year has been working on my own full-length album, TIME. I have 12 tracks about 80% done with a few singers spread throughout (including myself). The sounds range through a few genres (118-140BPM), but focuses on darker garage and broken beat throughout. Some of it I don’t really know how to define to be honest.
3/6 of these teasers are on the LP including the title track, Time:
And here’s a teaser of pt 1 of a two-part single (I’m singing on pt 1)
What kind of music did you grow up on?
I grew up on classical music in a household that didn’t listen to much rock/pop so my first experience with electronic music was Switched On Bach by Wendy Carlos; I wore that tape out as a kid. The other big one was Prodigy – Fat Of The Land in junior high, and then in high school I discovered the rave scene of the early 2000s and bought turntables. I started producing electronic music almost immediately after graduating college with my music degree.
Chris Broke It @ Meldown Festival, Ft. Worth
Tell me about what keeps you busy outside of curating amazing parties and djing shows.
I have two jobs. My primary job is via my business LeftRightAudio mixing, mastering and production lessons. I work out of my studio in Deep Ellum at Rockit Labs (same studios as Paul Paredes, Demarkus Lewis, Chris Jumble). I also teach two to three Audio Engineering classes each semester at Collin College in Plano.
What are some of your other projects? Because I know this can’t be it.
Team Awesome @ Lizard Lounge, Dallas
What are you focusing on for the rest of 2014?
So besides finishing the album I’m also doing a full visual rebranding for Left/Right, starting on some remixes, and generally pursuing FUTURE art. I’m improving my interactive kinect installation, projection mapping skills, and building a fire sculpture (hopefully learning to blow glass)! Some of these will be funneled into my performances as they develop. If I’m lucky, I’m also hoping to finish my band Chris Broke It’s album this year too. The eternal struggle is too many projects, too little time (thus the name of the album).
2015 Left Right world take over? Yes?
Haha- yes! With a little help from my friends.
To keep up with Left /Right check out these sites –
Edited by Derek Johnson
Sometimes, in the face of it all you have to put on a tune and just let it wreck your brain. Today, that wreckage is being wrought by Dillinja’s Violent Killa (Valve Recordings, 1997).
It’s a bit late in the afternoon, but Shadow Child just posted up this Nick Olivetti promo mix for Food Music. I guess the colloquial term for this flavor of house music by some purists is “UK Jackin” instead of bass house or tech house, but I don’t really care because I’m rather enjoying it…