“Issuing the very last word on the state of dubstep’s constant mutations in 2008, Londoner Spatial drops an exceptional 10” of clipped post-Burial/future-garage productions for the newly coined Infrasonics imprint – and right at the very end of 2008 has produced what will no doubt be a true collectors item a few months down the line. Housed in a minimalist sleeve and bearing little other info than a five letter code and the label’s URL, the aesthetic is deliberately stripped and scoured clean, much like the beats inside. ‘80207’ is an absolutely killer slice of crisp and spacious garage dub progressions, sounding like the perfect union of Andy Stott’s techno dub fixation crossbred with Burial’s swung patterns and 2562’s chrome plated production gloss, but adds old skool rave strafes and some cybotronic mechanics of his own for a truly shocking cut. The flipside numbered ‘70810’ rewrites the formula even further, starting with a El-B fashioned rhythmic framework, Spatial reinforces the rhythm with slashing brushstrokes to remove any unneccessary beats, and douses the whole thing with a ghostly atmosphere reminiscent of Burial or Andy Stott’s finest. It’s either the end of a vintage year for garage futurisms or the start of a very promising 2009, either way, this is just awesome. Be quick."
“This year’s clearest trend in dubstep is “future garage”, a technologically-enhanced re-imagining of the sound’s 2-step origins by Martyn, 2562, Ramadanman & co. On his debut productions, Londoner s p a t i a l could have risked simply reworking this new formula: the microhouse clicks, Basic Channel washes and clean subs are certainly present and correct. However his understanding of original UK garage’s clipped shuffle, snappy woodblock hits and compressed emotion goes way beyond pastiche, and the incorporation of older rave elements like "80723"’s Detroit strings and riffs and "80207"’s contrast between cushioning alto vocal samples and sharp stabs creates a distinctive sound world. Most of all, though, it’s the expert manipulation of space to give a sense of buoyancy, of loosened gravity, that make stepping inside these four tracks so inviting."
“Utterly anonymous release from the equally ambiguous Infrasonics crew. Both cuts fit in between the atmospheric, 2-step of Burial and the mechanised garage of dubstep’s godfather, El-B. No information, so no lead to go on, but what we can say is that you need to snap one of these up quick – we’re informed that they’re a one-time-only limted edtion pressing. Killer.”
Throughout the past 12 months, some dubstep producers delved deeply into their sound banks to explore the space between musical elements, creating a new evolution in the sound. Others relied on the sheer viciousness of their bass lines to move people. The completely and utterly anonymous Spatial thankfully falls into the former category and this numerically titled 10-inch, and the two accompanying free downloads, thrusts the recent 2-step infected movement of producers like Geiom and Ramadanman into a more considered and glitchy direction.
The two vinyl tracks comprise of subtle clicks and hi-hats that push into you rather than hinting at the rolling pulse of the sub bass, revealing an almost tech house-influenced production style. “70810” has a primitive garage double snare groove and, as on most of the cuts on offer, Spatial lets the drum beat take the brunt of the attention with a few tempered pads chiming sultrily in the background. “80207,” meanwhile, has a more obvious dubstep feel with its heavily delayed snare drum and more consistent sub bass lurking behind the wheeling stabs of that rave era synthesizer.
With an evident grasp on 2-step drum patterns and with a foot planted heavily in dubstep, Spatial seems to have found a style all of his own. This first micro garage lament for Infrasonics is minimal but, as should be standard in such a skeletal foray, it’s impeccably well produced. Whether he’s messing up progressive synths on “70707” or making you reach for the ceiling on “80723,” it appears Spatial deserves every bit of your attention.
…to all those who helped get this record out. You know who you are :)
Please Note: Some of the records have been manufactured with the labels printed on the wrong side of the vinyl. The track order is correct at Boomkat has it where 01 is the A side (90121) and 02 is the AA side (90113). One for the discogs crew ;)
However, ‘Infra002’ is about far more than a self-consciously reductive Berlin-dub-techno-meets-UK-garage-beats clicheacut;: the dark euphoria of original Detroit techno and the most sensuous moments in rave and jungle surge through its bloodstream. Like that of another feted inhabitant of South London’s boroughs, Spatial’s music contains memories of raves past, but as leading bass scribe Joe Muggs observes, these are not melancholic dreams – rather they are thrilling flashbacks to peak experiences. The techno chords, steadily driving junglist syncopation and single looping note of female vocal in ‘90121’ build momentum with the patience and restraint one might expect from a Carl Craig epic, showing how dubstep doesn’t need massive builds or drops to maintain pace, while the track’s very real urgency is the polar opposite of the floaty head-nod vibe normally associated with the words “deep tune”. ‘90113’ taps a parallel stream of breathless tension and velocity, making distinctive use of a four-to-the-floor pulse and the snapping woodblocks, rimshots and snares of UK garage, as its spaces flood progressively with a steady bass throb, moist bleeps, flickering vocal snippets and tingling techno chords.
Like its earlier sibling, the ‘Infra002’ EP arrives in an elegant package, the impeccably stripped-down design of the sleeve perfectly mirroring the well-placed details of the sleek beats within, making it equally a buy-on-sight essential for collectors and box fixture for working selectors."
“You may remember us getting a little hot under the collar about this fella’s first 10” towards the end of last year so you know we’ve all been waiting for this one with baited breath. Driving deeper into the world of post-garage and dub techno, this plate even manages to outstrip its predeccessor for sheer bass weight with a couple of cuts that make your head feel like it’s in a pressure chamber when listened to on headphones, seriously. Sticking with the bleached aesthetic of the first 10", track ‘90113’ uses a well considered palette of sonic weaponry, namely cavernous dub chords, tuff garage drums and a subbass movement that made us think the needle had eaten through the plate, glued together in a fashion similar to Roska’s premium post-garage syncopations. Flip it for ‘90121’ and a switch in patterns with the same meticulous attention to detail applied to forward 4/4 steppers mechanics sounding like Substance & Vainqueur if they’d come from London instead of Berlin. These are two choice cuts for any connoisseurs of dub techno, garage or dubstep and come highly recommended to fans of F, 2562, Narcossist, Alva Noto or Roska. Killer!"
“Spatial. My friend Rick has no spatial awareness you know. Every time he comes in my house he breaks something. Must be he thinks he’s still a foetus rather than a large bumbling man in his late 30s. This other Spatial thing is a cool 10” EP of abstract & funky dubstep-y style stuff with a solid, interesting drum rhythm, some subtle wobbly synth flecks and a disembodied vocal sample of a wailing diva in space that’s probably escaped from every LTJ Bukem tune ever. There’s lots of cool sounds and layered effects that build up in expert fashion to create a step-tastic vortex of technically savvy future D’n’B inspired gear. The flip reminds me quite a lot of the recent Bristol stuff, a dub techno flecked groovathon with hearty nods towards the skool of Kevin Saunderson. Very “IDM” looking sleeve too. Ltd 10" on Infrasonics"
Arriving in the least ubiquitous fashion possible and delivered with a little mystery thrown in for good measure is the latest 10-inch slice of garage-flecked, Detroit techno-suckling dubstep from the facially ambiguous producer, Spatial. Christening his productions with numerical monikers such as “90121” or “90113” may seem like another way to alienate anyone who isn’t searching specifically for his work but, by not naming them after lost loves or some other nonsense your left with one thing to judge: the music.
With these two distinctly different cuts Spatial positively shines, deeply throbbing away the introduction bars of “90121” before he rolls out a garage drum pattern, swirling house chords and then quick-paced wobble bass into the speakers as the chords dissipate. Arranging the bass in such a way ensures that your ear hangs on for each occurrence as its mid-range sounds delectable over the top of the echoing vocal stabs and high-passed prog synth swells.
“90113” rides a more dub template with the off beat piano framing things in a more half-time swagger from the off as the kick drums become a constant fixture. Snatches of female vocals morph into piano stabs that fade up until they sound out loud on each beat of the bar before they descend back down into some hyper delayed 2562-esque chords, proving in a single manoeuvre that Spatial knows exactly how to transform and meld his synths perfectly.
…to wiretappers everywhere :)
NB: Please note, we’ve had a issue with the manufacture of the vinyl. It’ll be with us shortly :)
‘Misdeeds’ opens with an upbeat, energetic feel; the rhythm propelled by a driving sub bass groove… this is dubstep at it’s most optimistic. ‘Jenova’ is killer technoid garage that maintains the same urgency, with a brightness, buoyancy and warmth that defies any stereotype of “deep” and pensive, preferring to move bodies on the floor. Hot City has been gaining quite a reputation on the London underground having recently completed mixes for Mary Anne Hobbs as well as the ever reliable FACT magazine series. He is also a resident at London’s Wifey club night as well as the How’s My Raving events at Cargo. Simply put, Hot City produces relentless, unselfconscious dance-floor bangers that neatly triangulate hardcore, UK garage and jacking Todd Edward’s style New York House. With tight production and precision edits propelling his sound forward, Hot City seems to have successfully captured the ethos of the UK rave continuum and packaged it up into a driving 21st century sound that’s found favour from DJs as diverse as Drop The Lime and Hudson Mohawke.
‘Setting Me Free’ starts with what could be a very early Prodigy string pad before launching into solid house groove reminiscent of Inner City. The track continues to build and surprise with clever edits, sampled vocal phonemes and euphoric breaks. ‘No More’ sees Hot City delve into 3am warehouse party territory, built around a stabbing bass note before opening into a piano chord that interplays with a doubling of the bass riff and the signature edits and breaks. It’s unashamed hands-in-the-air material, recalling a time when the dance was less self consciously genre bound, and making that time now.
Or check out a scan of the magazine.
“Spatial’s Infrasonics imprint expands its remit with a new release featuring the debut productions from Ike Release and two gems from underground stepper Hot City. While the label has become known for Spatial’s pristine 2-step refluxes, this instalment moves from the darker edges of the floor into the dancing zone with Ike Release’s two breakstep meets dubtech styles, carving out hard-skipping rhythms and low-rubbing garage bass under bright and airy dubchord sequences sounding like the best of London’s current rave styles transplanted to somewhere in Berlin. Hot City makes sure it comes crashing back to London on his pair of winners though, starting with the EBM kicks of ‘Setting Me Free’ fashioned into something far funkier and late-90’s urban-garage-bleep styled. Check his killer Fact mix for all the reference points that never really reached the North back then! His ‘No More’ cut follows with a very tasty rave-house anthem in the making. Massive twelve.”
“The first 12-inch release on Infrasonics is a milestone. The first single of its diameter (both of its predecessors have been 10-inches), it also harbours the first material not produced by Infra boss Spatial to be released on the label. Bringing back the concept of a split single, Spatial’s enlisted two of future garage’s brightest hopes in Ike Release and Hot City for the honour. Chicago-raised Ike Release shares more than a passing aural resemblence to the previous output on the label, with airy pads delayed for eons supported by a rough and punchy 2-step beat and super high-pitched vocal snippets that scream at the perfect moment. “Jenova” pips the post of Ike’s work on here with its constant Detroit pulses and clean sine wave bass clawing for a little more attention than the rough thunder of his drum work on “Misdeeds.” London’s own Hot City – who came to light after a sterling effort on the Highpoint Lowlife label – is a bass producer with a subtle difference. His passion for rave music is undeniable with waify intro melodies skipping through primitive percussion and on into the leading piano workout on “Setting Me Free,” but he doesn’t sound as excessively throwback as, say, Zomby or Shitmat. The melding of rough bass, the simplicity of his skipping drum samples and the general tinny cleanliness of his piano samples on “No More” proves this, and offer a glimpse of a wholly original producer fighting to break through the hordes of producers painting dubstep-not-dubstep by numbers."
The Spatial 10-inch EP series reaches its third and most visceral installment yet with ‘90729’ and ‘90807’. Spatial’s inaugural release on Infrasonics in late 2008 was enthusiastically welcomed by listeners, DJs and critics, as was its follow-up earlier this year, a reaction attributable to the producer’s instinctive fit with one of the prevailing moods in dubstep – in reclaiming the fluidity of 2-step garage and re-appropriating dub-techno processes, these productions capably stand alongside those of Martyn or 2562.
More than the execution of these satisfying tropes, though, their strength lies in a spooky attunement to the faint vibrations of a whole spectrum of dancefloor epiphanies, presenting in some ways a crisper, less melancholy counterpart to Burial, or even James Kirby’s projects as The Caretaker, but from the right side of the comedown. This latest collection of tracks, possibly Spatial’s most evocative, takes indirect inspiration from experience of the kind of ‘91-era Euro-rave documented in Warlock’s recent mix for FACT magazine. Removed as the comparison might seem given their wrought, contemporary sound, vestiges are detectable, such as the transmuted hoover basslines, hollow panic-synths and ectoplasmic vocal trails that at the peak of these tunes threaten to fill out Spatial’s characteristically airy, open-textured mix. Correspondingly, ‘90729’ and ‘90807’ all constitute conscious attempts to aim more squarely at the dancefloor, with success already coming in the form of DJ support from Untold, Incyde, T++, and Dubwar NYC resident Dave Q.
Via waves of unremitting subbass, Infrasonics have just rearranged our internal organs with the 3rd 10" on the label courtesy of Spatial. It’s going to be blindingly obvious to anyone following this end of the techy bass pool that both tracks sound remarkably alike Untold’s recent productions, which is about as much praise as we can give anyone right now. On ‘90729’ he achieves that overwhelming bass presence that made the ’It’s Gonna Work Out Fine’ EP so powerfully addictive, creating the sort of subliminally sexy bass tones that are just a rare commodity in this scene. Add this to the strafing rave tones and sticky electro percussion and you’ve got one of the deadliest grooves we’ve heard all year. On the flip ‘90807’ takes cues from the lean and hungry eski-riddims of Wiley, creating that dynamic feeling of sparse tension as Bok Bok, Untold or Sully productions with rhythms that twitch and flicker with a refined menace, enforced by the impending dread sub-drone. This is the sort of record you just need in your life – buy on sight!!!
Previous releases by anonymous London producer Spatial for his own Infrasonics label garnered widespread praise for their energized contributions to the ‘future garage’ side of dubstep, and this latest instalment ought to strengthen his case. Again, the tracks all have five-digit numerical titles, a trait of Spatial’s to keep non-musical elements to a minimum (while also mirroring the scene’s interest in postcodes), and the jagged frenzy of earlier releases has been further intensified.
The clipped, chunky beats of ‘90729’ are bound in tightly wound digital wire, the beats rigid but confused by phantom afterimages, bright stateside house chords lending warmth to an otherwise bleak vision. ‘90807’ toys with rhythmic freedoms, but again these are decoys, serving Burial-esque vocal bites and a gloomy, thoroughly synthetic vibraphone melody. ‘90731’ is jovial, even jubilant by comparison, a sensual female gasp erupting through playful rave stabs and pranksterish breaks. Heck, even the bass hoover seems perky. The clean, sleek lines and pinprick edits are custom built for large systems, striking a near perfect balance of light and shade that should charm all corners of the discotheque. Can we expect a ‘90210’ at some point?
Look, we know we hype up these Daily Downloads sometimes, but this is something special. Absolutely stunning future garage from Spatial of the Infrasonics camp (Hot City, Ike Release) – and this isn’t even the best track on the 10". Fans of Untold, 2562, Kowton/Narcossist and more should be all over this like a rash.
I’ve heard the future. It’s not even a whole track, but to these ears the second half of s p a t i a l’s 90729 (on his own Infrasonics) is the year’s most forward-looking, next-level, game-changing [insert additional cliches of choice] dance record.
No, really. Forget Hyph Mngo (great though it is). When 90729’s pan-galactic low-end announces itself at 3:00 precisely, we’re being signalled the thrilling sound of contemporary bass/garage in mid-morph.
Flicking either side of its implacable, lurching core, flitting into & instantly out of its voice snippets again while accumulating an ever more clattering, clicky percussive momentum, the next four minutes tell us what this music is supposed to sound like next.
The plinkily swinging 90807 & brisk, blithe Creative Commons goodie 90731 aren’t too shabby either…
Infrasonics boss Spatial is proving to be as canny a selector as he is inspired a producer with this second double header 12’ on the label, pitting new boy XXXY up against cocksure second-former Ike Release. Continuing the ride on UK-centric sub bass vibrations, XXXY ventures into 130bpm territory with two house-funky-2step-wtvr mashups, while Ike continues his sonic exploration of the Berlin-London trajectory as presaged in his debut release for Infrasonics last year. With the four-track ‘Infra12002’ EP, Infrasonics contributes its own reaserch to the investigation by an innovative wave of UK-focussed producers who are captialising on the atemporal history of dance as documented through the internet, taking elements of past, present and future to recontextualise into their own unique incarnation of bass driven electronic dance music.
XXXY’s filtered snare introduces the record with anthem-in-waiting ‘Blue Flashing Lights’, before dropping into bashy rhythm driven by a beckoning sub and his own minimal aesthetic. The pattern evolves into a 4×4 groove as the track gains momentum, the bass figure modulates pitch and the responding lazer synth adds resolution, as a broken beat pattern and vocal cuts layer and synths build and swirl. The bright chords opening ‘Know You’ introduce a more optimistic sonic pallete on the second track, with an offbeat snare and overall vibe sat somewhere between Roska and Kenny Larkin. The sub-bass emerges to ground the track firmly within LDN’s reach as subtle layers of percussion build with congas, bells and shakers introducing the break, before a more intense bass kicks the cut up a gear.
Ike Release starts his side with the swirling pad and 2-step groove of ‘Iridescent’ before dropping a heads-down sub and unleashing a killer groove. A syncopation of well placed percussion follows a similar trajectory to recent James Blake or Ramadanman releases but the spiky reversed synths provide as much reference to Detroit as they do to Berlin – his current residence. In ‘Natural Manipulation’ Ike uses layers of delayed synths to provide a backdrop of 5am Berghain textures that swirl around a pulsating, warm, driving sub and stepping broken groove that shuffles effortlessly through the duration of the track, highlighting a production style that is innately danceable. DJs across the board are already showing support for these tracks, including Ross Allen, Ben UFO, Hot City, Mosca, T++, Scuba, Appleblim, Dave Q, and Incyde. Mastered and cut with the eye of a royal jeweller by Jason at Transition Studio.
XXXY heads up the second 12" from Infrasonics in a split-off with Ike Release. Both of XXXY’s cuts explicitly reference the Funky and Garage styles which have saturated his sets of late, from the minimised Funky scuff ‘n skip of ’Blue Flashing Lights’ to the more broken beat drums of ‘Know You’ sounding compatible with your Altered Natives and Karizma rekkids. Ike Release is on a strictly skippers tip with ‘Iridescent’ arranging glassy synth movements with sticky 2-step patterns and a deep blue mood. Standing head and shoulders above all these however, is ‘Nature Manipulation’, blending SND-sharp electronics with Dutch techno chords and a central motor of restless 2-step.
In ‘Blue Flashing Lights’, XXXY nourishes the 8bit-step par excellence. ‘Know You’ is of different language, much more deep house, and imposes a strangely comic preset-drum line in its framework which step by step transforms into a dubstep bull fight ring.
Then Ike Release on the B-side: ‘Iridescent’ is as plushly furnished as the surface/interface of Pong, yet it vibrates in brightest colours. The subtle strings help thereby of course. ‘Nature Manipulation’ strikes back with bold dub references, twitchy 909 high hats and a thunderstorm which may well become the new standard.
Infrasonics label head spatial constructed an elegant and impressive mix for FACT earlier this year, a fluid melding of dubstep, techno, house, garage, and everything else, one with an ear and feeling equalled by few others operating in the same ill-defined genre nexus. The releases on his label – at first his own tunes only, and now in the midst of a series of split EPs – feel like the building blocks to that sort of alchemy; sparse, reduced bangers with interlocking connectors, ripe for blending and layering.
That comment is not to take away from these tracks and the way they’re presented is splendid in all their bare glory. Manchester’s xxxy helms the first half of the EP, ‘Blue Flashing Lights’ splashing powerful Funky percussion loops with glints of 8-bit grit, a nod to recent producers using the distinctive sound as the backbone of new movements in both dubstep and grime. Picking up steam as it rolls along, heavy sub-bass floats in like ominous fog while xxxy lets loose more samples, including something that sounds like a mercilessly manipulated Terror Danjah drop. For his other track here, ‘Know You’, he comes up with something a little more defined, all luxurious chords and super clean drums as new layers are delicately folded in. When the track breaks out into mad skank mode for a few bars, it’s an unnecessary victory lap [wtf? this is the best bit – Ed] that makes the resurgence of those chords when the track recedes back into its previous groove more powerful. ‘Know You’ is one of those should-be anthems that doesn’t necessarily break the mould, but is just so words-don’t-matter perfect at what it does it’s hard not to get excited when it comes into earshot.
If xxxy’s compositions are fun and inviting, infrasonics cohort Ike Release’s are austere and serious, dealing with the same palette but in a different context: ‘Iridescent’ juggles woodblock-y percussion a la Mount Kimbie, doling out smooth obsidian chords around snatches of vocals. The faster ‘Nature Manipulation’ is colour-inverted dubstep; dubby dread hits turned into sheets of stark white as the kicks and snares joyfully pound away. With this EP in the bag, an already formidable back catalogue and a new single on the way featuring more house reductions from Jamie Grind and Gon, Infrasonics continues to prove itself as a label that trades in sleek, sexy bass music that is as implacable as it is irresistible.
The next Infrasonics split 12" is another four-track double A side introducing two new artists to the label and the wider UK bass scenes. The ‘Infra12003’ EP presents Jamie Grind vs Gon: the bright, urban hypercolour synth lines of the former battling the driving funky shuffle of the latter. This record presents another abstraction of the melting pot of styles and influences that permeate underground UK dance, with two contrasting perspectives of sound system culture.
Jamie Grind is a fresh Leeds based producer who creates hip hop influenced urban grooves with a 2-step skip and a healthy dose of optimism. The opening stabs and vocal snatches of ‘If You Want’ are instantly infectious, setting the sunshine vibe before dropping a skippy, yet understated garage beat underpinned by a lurching bass figure that references similar terrain as Brackles or Shortstuff, albeit in less overtly electro fashion. The track progresses to introduce swirling, modulated lead synth lines with the satisfying, humane feel of something from an old P-Funk record, diametrically opposing much of the machine coded modulations from other recent funk influenced dance tracks.
‘Balloon’ follows a similar trajectory, though with a marginally more abstract bent. A doubling of the initial chord movement plus a layered brass-like analogue lead spirals up before dropping a warm sub that locks tight into groove with the stepper’s drums. The subtle embellishments and interjections throughout each track keeps the vibe bubbling at exactly the right temperature; both are tantalisingly short but fully formed, referencing an almost pop sensibility and demanding instant repeat play.
Gon is the work of an Italian ex-pat now settled in Dublin. His house and UK funky-based productions have a maturity of sound, solidified by his wide musical exposure whilst manning the counter at the now sadly defunct Freebird record store.
‘Chaka Mad’ supplies a raucous introduction to his sound, a bashy rhythm centered around a throbbing bassline that cuts, drops, builds and modulates in all the right places to keep the dance blazing. A slight respite is introduced with synthetic pizzicato string towards the end before the cut-off rolls the bass back to sub frequencies and the track deconstructs. This is a DJ plate of the first order, destined to wreck any floor!
‘Riddance’ drops the vibes and BPM a few notches with a beautifully constructed UK funky track that exercises similar restraint as recent Pearson Sound or Ramadanman outings. The instant the thundering kick drum starts with the familiar soca-esque pattern and offbeat sub we are drawn inside the infectious rhythm. Subtle keys and well placed sound fx add empahsis and colour to the beat as the synth line pushes and pulls around the groove.
In delivering their latest four-part must-have, Spatial’s Infrasonics continues its confident growth as one of the pre-eminent outlets of British underground dance culture today.
Infrasonic’s third round of face-offs pairs the fresh skip of Jamie Grind with Gon’s electro-dubby Funky. Hailing from the bass-stronghold of Leeds, Jamie Grind gives the direct 2-step and bouncing chords of ‘If You Want’ and the P-funked synth juices of ‘Balloon’ for the swingers. Gon’s efforts run at a more laidback pace, from the clipped Ramadanman-style shimmy of ‘Chaka Mad’ to the ruder bashment house bass and dubby finish of ‘Riddance’ for the batty winding crew. Fans of Pearson Sound, Spatial or MJ Cole’s recent housey bits should be checking this.
Funk flavours from Leeds and Italy vs Ireland
Infrasonics boss Spatial was ahead of the game with his early future garage releases, and Jamie Grind’s two tracks here continue that psychedelic 2-steppy vibe with the addition of some lush funk synthesiser squiggles. But what we really like here is Italian-in-Dublin GON’s take on UK funky rhythms, full of zippy edits, warm bass and wide open spaces… quirky dancefloor class.
“Sensational, as might be expected. Spatial has enough good tracks in the drawer to win next year on the loose”.
Click here for a scan of the original review in German.
When Infrasonics was a label dedicated exclusively to the beautiful 10’ format, there was only room for one artist and one sound: slow dubstep based on the techno textures of Berlin and clear 2step rhythms of Spatial. However, since the label has taken to the 12’ format, the family has expanded with artists such as Ike Release, Hot City and Xxxy. Jamie Grind (born in Leeds) and Gon (originally Italian, now based in Dublin) are not only the newest signings, but also debutants on the over-populated scene of British bass music, though both show sufficient skills to be confident about their permanence. In the case of Jamie Grind’s style is on the rough side, at the crossroads between metallic dubstep and tropical percussion. In a way it’s the sound patented by Brackles and Deadboy (especially on ‘If You Want’) – , but on ‘Balloon’ you can already see his interest in exploring sunnier textures – like Martyn and Kode9 – instead of fighting the urge to flee to cerebral isolation. His epigraph on MySpace describes it perfectly: post-garage. And that’s why this split single works like a clock: Gon sticks to the funkstep aesthetic without having to think twice. He is laying bets on organic sounding Brazillian street drums, riddled with wobbly bass lines and finishes off his side of the vinyl with those occasional Detroit-style pads – between Actress and Pearson Sound – that are so fashionable these days. A great record, pure zeitgeist.
The fourth installment in Spatial’s sturdy 10" series sees yet more of those spannered beats and old-skool rave charms delivered in that lean style the man has made his own. ‘100402’ rides a crafty organ refrain while everything fits and starts around it. ‘100319’ has a much more direct 2-step bump to it, rocking a 90s style synth arsenal for maximum party effect.
Fourth outing from the highly-reputed Spatial, and at this point in proceedings the man’s work should need no further introduction to the many listeners already up on his sound … and yet, these fresh productions – ‘100402’ and ‘100319’ – mark something of a departure from the so-called “future garage” tag with which he has frequently been associated in the media.
Both tracks drill down hard on a muscular programmed machine-funk style, combining elements of bass, electro, old school house and a touch of crude grime to create a pair of mutant club cuts designed to make the dancefloor work hard. Undoubtedly the most direct music released yet under the Spatial trademark, this is sure to satisfy and surprise his growing following in equal measure, while at the same time encour- aging plenty of new heads to tune in to the progressive Infrasonics signal.
In his own words; “I find my most satisfying tracks always come from more improvised arrangements rather than intensive editing of arrangements. Hearing other peoples stuff that’s been edited to f**k definitely works but I just don’t wanna work like that myself. A lot of the early acid tracks were almost mistakes with a 303 running. I like that idea. These tracks are clearly a lot less minimal than the early material and the energy and choppiness comes from DJing out more again – that process really fed into these tracks. It’s not just about being more functional, it’s about a reconnection with a vibe that I’d ig- nored for a while. I think any muso goes off on tangents. Took me a while to realise the worth of dance stuff again despite it’s functionality.”
Alongside the normal free extra Creative Commons track available online to accompany this EP, there will also be further experimental musical content which will only be accessible from a unique weblink triggered by holding an artwork insert up to a webcam.
Early endorsements from Peverelist, Geiom, Falty DL, T++, Hemlock crew, Hyetal, Dave Q, and Grevious Angel.
While his Infrasonics label has been busy turning out solid goodies from Ike Release, Hot City and XXXY, Spatial’s own productions have been scarce in 2010. His fourth release on the label adds some lean but juicy flesh to the bones of his future garage blueprints while factoring in a more feminine pressure by way of dainty 2-step melodies and diced vocals. The title might not give much away, but get ‘100402’ on the floor and it’s got some serious chops, flaunting super-slick percussive cadences and the cutest melodic wiggle. If that sounds too nice for you, ‘100319’ tightens up with a finely crafted garridge swagger riddim full of tendon-twitching percussion and a hypnotic, heads-down-and-raving lead riff with a flourish of moody synthline energy in the final sections. Very smart trax!
Techno was a decisive element on spatial’s first singles. The sound was cold and clinical, very premeditated, as if an Ostgut Ton record had filtered in with the final mix. In that sense, spatial’s productions found an interesting and very fashionable niche last year, a kind of dubstep where Berlin and London – like Scuba or Sigha – met, but with a cerebral touch that kept it from going straight to the dancefloor. That’s why the fourth release through infrasonics on 10’ changes so much with regards to spatial’s style: the man himself says he stopped thinking so much about the sound and just trusted his instincts. While before there was a lot of speculation, study and endless re-touches, reaching an almost obsessive level of purity, now there is a clear flow that is audible in the rhythm.
For starters, the techno texture has disappeared in favour of funky breaks that have more approximation to future garage than to dubstep-techno, and that’s thanks to a more unpredictable way of organising the rhythms, without so much meditation or censure. They simply come out and find their place in the atmospheric structure, organising themselves into the pattern of each situation: sometimes more house, sometimes breaking like electro, or allowing for cropped voices to enter in micro-second sections in the way Todd Edward would (‘100505’). For spatial, this single is a decisive step forward in his career: he hasn’t betrayed any of his principles (space, texture, mental rather than physical post-dubstep), he keeps on the experimental path, and yet his music has gained flexibility and possibility. What will come from now will only be better.
Emerging into a post-‘Untrue’ landscape at the tail end of 2008, low frequency producer Spatial made his remarkable debut on his own Infrasonics imprint with an EP journeying into rumbling, echoing, haunted dancehall minimalism. His immediately apparent attention to evocative detail in his music was equalled by a marked reluctance to self-promote; “Here is my sound,” he seemed to say “and that’s all I need to tell you.” In some hands this anti-stance could have been massaged into an attention-diverting image in itself, but Spatial made then, and continues to do so now, a compelling case for the virtues of less versus more, naming his tracks with five-digit codes, dressing his EPs in starkly minimal sleeves, and releasing a series of increasingly clipped and swung exercises in spectrally-sleek dancefloor dynamics.
One of the first artists to be described as “future garage” – a tag the man himself has been keen to shrug off ever since – Spatial’s technologically-enhanced re-imagining of the sound’s 2-step origins assimilates garage’s stutter-stop shuffle, snappy woodblock hits and compressed emotion within a framework that also incorporates older rave elements like Detroit strings, Berlin-esque synths, muscular machine-funk, and microhouse clicks, in the process creating a highly distinctive sound world. Most of all, though, it’s his expert manipulation of space to give a sense of buoyancy and loosened gravity that make stepping inside his music so inviting.
This CD compiles all eight tracks from his quartet of 10-inches released between December 2008 and October 2010 – including ‘80207’ and ‘70810’ from the long-sold-out ‘Infra001’ EP – and adds five further tracks which were originally made available as free downloads in association with each physical release. None of these works have been available on CD before now, and hearing them unfold in series across an 80 minute sequence is as absorbing a trip into dark euphoria and flooding bass sensuality as you’re likely to come down from this year.
Although he’s not been too visible of late, Spatial’s body of work collected on here shows that he still stands out from a crowded nexus of garage futurisms. It features all four of his 10"s, spanning 2008-2010 and 13 tracks between them. There’s a very good reason why everyone from the academic likes of Alva Noto to London’s road-running Wifey crew praise his sound. If you don’t know, this is the best place to get acquainted (well, wax would be preferable but they’ve all gone, innit!). Highly recommended! Play loud!
Upon releasing his first, limited edition 12" in 2009, Spatial was compared to Burial. Two years on, it’s a comparison that looks frequently less and less valid. Where his early work drew clear influence from the likes of Burial and Basic Channel, Spatial, his eponymous debut album, boasts far more subterranean funk. Sure, the crackling atmospherics, unfeasibly heavy low end and sparse production are all still present, but there’s little in the way of creeping paranoia or breathlessly intensity. Instead, Spatial teases and titillates with dancefloor promise, as rhythms pulse, acid house synths stab and reverb-laden vocal snippets ricochet between the speakers. It’s dubby and atmospheric, but it’s also a lot of fun.
It seems little is known about London producer Spatial, an elusive nature that stretches across all areas of his work. Take the mysterious numerical track titles on his debut, self-titled album (‘80723’, ‘90731’, ‘81012’ etc), or the stylishly hidden links on the website of his own imprint, Infrasonics. A self-proclaimed aversion to self-promotion sits nicely with the largely minimalistic approach to his music, one that spreads to all aspects of his debut release, from the plain white cover dotted with minuscule squares to the enigmatic track names themselves.
A sonic range from delicate rhythmical clicks and spacious synths to pounding kicks and cutup vocal slices are the order of the day on Spatial, evoking both the airy nature of ISAN’s tone poetry, and the more tied down, dancefloor orientated swing of earlier 2-step. Indeed, it’s no coincidence that Spatial has been earmarked as a proponent of the ‘future garage’ form.
After the gentle coaxing of ‘70707’, full of rattling percussion and phased chords, ‘80723’ sets out Spatial’s stall with a burrowing kick drum pattern rolling along underneath low frequency synths and smooth sub-bass notes. The range of frequencies on show throughout the album really serves to highlight not just the amount of space in these productions, but how that space is expertly wielded as a compositional tool. Take the spectral vocals of ‘81012’, or the delayed chord stabs that tame the flurrying beats of ‘90113’.
There is always a chance of overkill in Spatial’s frank style, and this 13-track collection, compiled from the pooling together of four previous 10’s covering almost two years, is a little too much to digest in one continuous sitting. However, the set does sit comfortably with the low attention span approach of shuffle features and single track spins from DJs in their original extended single format, and the almost Coldcut playfulness of later tracks such as ‘100319’ and ‘100402’ benefit from the context given by those that came before.
While Spatial’s style demands the focused attention of the 10’, this full length works as a sparkling CV for an exciting talent.
Spatial’s self-titled debut album consists of his collected singles and download extras to date, spanning from 2008 – 2010 and ordered in chronology of release. As a complete retrospective, listening should, realistically, take into account that earlier productions will potentially sound dated and that later material in the record will be stronger. With this in mind, the progression in style and success of Spatial – as both record and artist – is noticeable and makes for a rewarding listening experience.
The first seven tracks of the album progress through a selection of spacious, dubby 2-step tracks from 2008 to 2009 and, while there are a couple of instances where things stray a little too close for comfort to Burial-homage, these are most reminiscent in swing and tension to El-B, Horsepower Productions and some DMZ. The addition of cavernous delays, reverbs and synthesizer work gives a kind of Basic Channel-meets-London vibe that doesn’t feel solidified, but quite promising.
In the latter half of 2009 something changes and the productions take on a fatness and unpredictability that was previously missing. Content is the key, with much of the original choice for space instead now crammed with elements. This change is a distinct step up in gear from the preceding tracks and signals the beginning of something more individual through a particularly economic use of minimal material, repetition of motifs, and unpredictable track structures taking in more overt techno and tech-house references.
The final three tracks show Spatial’s newfound strength of compressing content into tightly packed lattices of rhythm, and is dramatic in its reshaping from the previous three offerings, let alone the former half of the album. Excessive reverb is stripped to chamber-size, giving a far leaner, aggressive edge to more radical sample usage, FM synthesis, homophony and permutations of highly limited material that parallel these tracks with SND and Mark Fell.
Although these productions are all available digitally as singles, Spatial is an excellent long-playing case study in the transformation and development of a producer, unfolding in an interesting context, and accelerating impressively through accomplishment when played sequentially.
Unlike most artist albums, a collection of a single artist’s previously released works provides an overview of their growth and stylistic evolution. Albums often lack information as to when their contents were written and recorded what came first, what was last, which song had been kicking around for a couple years. With most collections that information is often more obvious, from the sequencing of the record to the more thorough liner notes. Infra001-4, Spatial’s collection of four EPs and various downloads from 2008-2010, is roughly ordered in the same chronology of their release. It’s a remarkable charting of not only Spatial’s output, but also of the mutating sounds of dance music over the past couple years as well.
The first quarter of the record involves minimal house styles, with ‘80207’ being the most exemplary of this approach. A light dusting of female vocals repeats in tandem with the escalating intensity of the track. Spatial employs squiggly keys and, in the climax, a dramatic minor key pattern that emulates strings over stark that bubble with quiet relentlessness. This track also serves to segue ever so slightly into a more half-step beat, with the following ‘70810’ expanding on that thought. Even though Spatial doesn’t go fully into garage, the pattern, deep bass and mid-range synths feel in line with the Loefah/Kryptic Minds take on this genre. Slow, methodical, atmospheric, this track vaults Spatial into a different realm. ‘90121’ is perhaps the most dubstep leaning song of the set, with echoing percussion and bending bass lines cutting through the middle.
Showing further growth and a clear ear to the ground is ‘81012,’ which feels kin to the garage-leaning sounds of Joe and FaltyDL while pushing forward into a unique cinematic sound of his own. Likewise, ‘90807’ sounds like garage filtered through five years of dubstep, using textured bass and minor key melodies in conjunction with cut up vocals and 2-step style beats. Towards the end, particularly with ‘100402,’ Spatial starts playing with juke BPMs, presenting a more mechanical and faster-paced bass track, complicated patterns of beat splayed over jerky melody with abandon. The closer ‘100505’ sounds similar to what Machinedrum is doing within this style, pushing more melody and lighter textures to the sometimes rough style of bass music. Infra001-4 presents a wide range of styles over a significant amount of time that mirrors what has been happening in the global dance scene. However, Spatial shouldn’t be seen as following each movement, but rather filtering the changing sounds of bass through his own production techniques and perspective.
Utmost thanks/respect to Andi Studer. Also to Bill & Joe at Cargo, Jason & Leon at Transition, Freya, Wifey crew, Thor & Wiretap crew, Netaudio LDN crew, Freerotation crew, Colony crew, Mat, Gosia, Radek, Joanna & all the Unsound crew, DQ, Raz, Drew, Brian, Seze over the pond, Sally, Marly, Joel, Danni, White Rhino in upsidedown land, Oli W at Schmorgasboard, Oli M at Sonic Router, TVO at Broken 20, Rik at Take, Bookmat crew, Torsten at Hardwax, Rupert T, Rupert C, Jamie G, Jack, Ike, Christo, Mark Harwood and everyone else keeping it real.
The Infrasonics split 12" series continues with another heavy slab of dancefloor wares, cut in a tested four track double A side format and signalling the return of a familiar pairing, with the ‘Infra12004’ EP rematching XXXY vs Ike Release.
The series was early to anticipate the existing melting pot on UK bass influenced dancefloors and this drop follows in that ilk: the stripped back, heads down dirty house of XXXY contrasting the sleek, sophisticated anthems of Ike Release. XXXY will need little introduction, his trajectory heading towards the stratosphere of late.
Since his first split on Infrasonics in early 2010 he’s gone on to landmark releases on labels like Orca and Doc Daneeka’s Ten Thousand Yen, whilst turning in some solid remixes from acts as diverse as The Count & Sinden, to the white-hot How To Dress Well, culminating in winning an invitation to participate in the next prestigious Red Bull Music Academy sessions in Madrid. He turns in two tracks of stripped back brilliance, leading with the tumbling Chicago toms of ‘Body Movin’, a track that builds around the insistent eponymous vocal hook and jacks with increasing layers of percussion atop an overdriven sweep, rooting the tune with a nod to the past whilst propelling it forward. The crescendo is aheavily filtered break that pauses and spins before dropping back to the hook.
‘Swing Those Hips’ follows with a bumping UK house vibe, all pounding kicks and stabbing chords, with swing for days. On the flip, Infrasonics mainstay Ike Release brings his third drop to the label – one of the most accessible to date, and a taster of his forthcoming debut album. The razor sharp percussion and bass weight are still in prominent effect, but the tracks are built with more obvious pop sensibilities. ’Don’t Know’ spirals around a stab and tantalising edgy vocal hook before unleashing a killer drop that pulses with analogue style percussive synths. The track effortlessly spins around the groove, pausing for respite as the vocal phonemes are processed in a 3D space before that breakstep kicks back. The aptly named ‘Outrun’ is a far sleeker and sexier affair, underpinned by a loping, stuttering synth line that propels the tracking through it’s shifting gears in a nod to the arcade game of the same name.
The vocal inflection is pure funk, contrasting the mechanical groove as the 4/4 pounds. The Germanic influence is prominent but the vocal nods to the US house of Ike’s hometown, Chicago. As Resident Advisor’s Andrew Ryce puts it, “I love the way ’Don’t Know’ bleeds together the vocal samples and the percussion stays so lightweight, almost like aluminium, but still with that weighty impact.”
Infrasonics team up XXXY and Ike Release again following the slick moves of last years split. Man-of-the-moment XXXY jams on a jukin’ House jack with ‘Body Movin’‘, riding tight, punchy Toms and crisp claps to sweatin’ effect, while ‘Swing Those Hips’ runs back to sexier mid-‘90s Garage flavours for a reet slinky squirmer. Dropping the energy levels, but amping the atmospheric vibes, Ike Release settles into the more fluid, rolling groove contours of ’Don’t Know’ flushed with lovely, warm pads and elegantly swirling vocal samples, before slipping down a notch for the convective chords and languid 808 push of ‘Outrun’ – a good look for fans of George Fitzgerald or Joy Orbison’s more melancholy moments.
London-based Infrasonics continues to understatedly push the UK sound forward, this latest release sees Manchester’s xxxy throw down the feisty footwurkin’ ‘Body Movin’’ and percussive jam ‘Swing Those Hips’ whilst Ike Release’s agile beats and crafty bass weight are just perfect for dark dancefloors. Ace.
Back before xxxy was a world-traveling superstar DJ, he caught my ear with the excellent ‘Know You,’ one of the finest tracks in the burgeoning garage revival at that time in 2010. That release was split with two intriguing tracks from a relative unknown Ike Release, and the odd pair make a return together for a follow-up on Infrasonics just over a year and a half later. This time though, I’d level the playing field a bit: Ike Velez shows himself to be every bit the scrappy underdog, with a standout track much like ‘Know You’ was back in the day.
Like most of the releases on Spatial’s Infrasonics label, these vaguely garage-y tunes are spare and exact almost to the point of being antiseptic, but they subsist on sheer momentum and tenacity. In both of his tunes, Velez funnels phased vocals through the background; in the fantastic ’Don’t Know’ they dart around nervous chord stabs and arpeggios that build tension for what feels like an extremely delayed drop (no drums for 90 seconds). But when the drums do come in, it’s a slippery, sexy pattern where each snare and crisp click feels like it’s sliding off the next in a graceful manner at odds with the track’s austerity. ‘Outrun’ plays with the same palette of dry drums and simple synth sounds, only this time the chords are flattened out into sheets of sound that roll off the more straightforward house progression.
In keeping with some of his more recent material like ‘You Gotta Do You,’ xxxy’s tracks are also quite parched, universes away from the arpeggio explosions of his memorable Ten Thousand Yen track ‘Ordinary Things.’ Think wooden electro and you’ll have an idea of what ‘Body Movin’’ sounds like, all frantic syllables and jittery drums. It might all end up a little flat if those dull drums didn’t suddenly come apart halfway through, thrown around the track recklessly while an unstable bass line squelches and splashes away. Less startling but smoother is ‘Swing Those Hips,’ essentially a modern garage take on the eminently smooth sound of classic Chicago house, warm chords and soft hats sped up to unusual tempos. It’s been well over a year since the last one and things have certainly changed, but there’s no denying that the follow-up xxxy-Ike Release split is just as strong as the first.
“Finally, new food from Infrasonics […] so hot!”
Here’s the full review in German from the magazine
First release of 2012 for Infrasonics, and if you ask us, it’s one of their best to date. It’s a cracking label debut for
Bristolian producer/DJ/scribe, KingThing. His ‘Waking Up’ groove syncs muscular subs and pointillist percussion to a retina-scarring lazer-tranz breakdown with the force of a prime Boddika or xxxy roller, while ‘Cold Diss’ is a freakin’ outstanding display of special-move edit agility approaching SND levels of body-twysting funk futurism. Not letting his side down, Jamie Grind returns to the label after that smart split with Gon, getting involved with a flickering, flighty Footwork-cum-Garage framework infused with flash soul chords on ‘For You’, and cutting up tensile 2-step rhythms with mercurial Juke on ‘We Still Play 140’. Badboys.
As Infrasonics continue their long-standing mission of bringing you excellent dance music, they’ve just released a new split EP from Jamie Grind and Kingthing.
“Unbelievable killer release, but actually that’s always the case for infrasonics.”
Check a magazine scan here (German).
Infrasonics hits heavy with the next 12” in their highly collectable split EP series. As FACT magazine put it, “Totally pumped, furious work outs from KingThing and Jamie Grind herald their first release of 2012, showcasing a high-octane mixture of snarling club sounds as aggressively funky as any Swamp 81 or Fade To Mind material”.
New signing KingThing comes correct with two hybrid numbers that build on the garage swagger of his previous outings with a new found focus and intensity and a broadened sonic palette that wraps analogue-style synths within tight digital edits. The intro to ‘Waking Up’ is rhythmic in fits and starts, as vocal hooks and triplet percussive stabs reciprocate before gradually settling, building a continuity of meter with rising pads leading to a crescendo that drops into a killer, technoid resolution of jacking monosynth leads and arpeggios over a slamming kick. ‘Cold Diss’ bangs hard from the off. Distilled juke and booty influences seep through the interplay of the vocal phonemes and pitched sub, but the vibe here is original. The ac- companying synth, that briefly introduces the track before later resurfacing to guide, has a cold clinical precision and resonance to it that could be forged by SND or Alva Noto. The context is very different though and the resulting symbiosis is a satisfying romp for the peak hour dance. For more information on KingThing, visit http://kingthing.net
Jamie Grind turned the head of many a player with his first drop for Infrasonics on the ‘Infra12003 EP’ he shared with Gon. Equally, his second pulls no punches. Sonically situated somewhere between Leeds and L.A. he turns in two tracks that weave summer vibes around a propulsive bassline rhythms. ‘For You’ builds around cut up vocal hooks and woozy stabs before resolving into an infectious, driving 4/4 groove. It breaks briefly, breezy chords switching the atmosphere, before settling back into the bassline groove. ‘We Still Play 140’ is a different proposition, constructed around an off kilter piano / stab combo and skittering percussion. It’s unfamiliar territory but Jamie’s ability to settle the listener as the bass and strings give fullness and urgency to the mix and play with the tension and release is a testament to his finely tuned pop sensibilities – man knows how to arrange for devastating impact. For more information on Jamie Grind, visit http://jamiegrind.co.uk/
Kingthing and Jamie Grind are the purveyors of East London label Infrasonic’s first foray in 2012, a furious, genre-spanning release set to continue the outfit’s consistently fine output over the last few years. Following records from xxxy and Spatial, infra12005 is multifarious, the undying energy constantly revamped and given new lease of life. In other words, it’s some of the most impressive work of Infrasonics to date, and of 2012 for that matter. The EP carries an even, satisfying weight, its able re-working of the past and present quietly setting it apart from its peers.
A notable aspect of the release includes the subtle yet constant shaping and redefining of tracks, consistently providing multiple dimensions throughout the EP. Kingthing’s efforts in particular are endlessly busy, opener ‘Waking Up’ moving through three distinct phases, each more satisfying than the last. ‘Cold Diss’, meanwhile, draws upon elements of footwork, the relentless percussion providing the strength for the hypnotic, endlessly sustaining vocal cut. It’s seriously effective, the slickness of it all perhaps its most noticeable trait. A track destined for the dance-floor, it would seem, and the highlight of the EP, personally.
Jamie Grind brings a bassline and garage inspired pair of tracks, providing the soulful foil to Kingthing’s unashamed intensity. ‘For You’ is infectious, it’s bouncing rhythm given a reinforced clarity due to the depth of it’s parts. The aptly titled ‘We Still Play 140’, meanwhile, reminds us all why the tempo is still a force to be reckoned with, the mind-numbing bass and tricky percussion ending the EP as strongly as it began.
The latest record from London’s Infrasonics label, a split EP between new signing KingThing and Leeds’ Jamie Grind, is a wonderful slab of bass-music yin and yang. Infrasonics’ early releases, back in 2008 and 2009, marked the dubstep scene’s shift towards house and garage, and hybridity continues to define the label’s aesthetic.
Falling somewhere between the blunt, paranoid techno of Blawan and the tough, electro-oriented beats of recent Swamp 81 releases, KingThing’s “Waking Up” is a mean-spirited amalgam of 808 electro rhythms, chest-thumping bass, and acid squelch; “Every Sunday, waking up,” grunts a looped vocal, but you can be pretty sure that church isn’t on the agenda. “Cold Diss” gestures at redemption with gleaming chords, but the punchy machine groove and juke-style vocal chop are as dark as the inside of a clenched fist.
Jamie Grind’s two tracks, though, are all sweetness and light. “For You” is an ecstatic U.K. garage tune that bubbles in all the right places, with sped-up diva vocals, a male choral counterpoint, and a killer, jacking organ groove, all pump and flash. Sure, it’s a template, but, done like this, it’s irresistible. “We Still Play 140” takes things even brighter, with fizzing chords and pitch-shifted vocals strung along over a prickly garage rhythm. The title pays homage to 140 beats per minute, a tempo that’s recently been falling out of favor in dubstep circles, and he’s got a point: It’d be hard to evoke such blissed-out frenzy at a slower pace.
A high-octane four cuts of pumping club sounds from Infrasonics together with KingThing and Jamie Grind. New signing KingThing delivers two swaggering garage cuts – percussive stabs, cut-up vocals hooks and slamming kicks. Jamie Grind weaves together two breezy summer grooves – building up around vocal hooks and an infectious 4/4 groove.
“Near perfect techno, juke and future garage jams”
Check the magazine scan here