Anz is launching a label. Short for “otras mitades,” which means “other halves” in Spanish, OTMI will house some of the UK artist’s unpublished works and contributions from friends across the electronic music spectrum.
The first release, OTMI001, lands April 9th and will be available digitally and on vinyl. “I’ve always loved—’mi otra mitad de naranja,’ or ‘the other half of my orange,’ a way of describing a soulmate,” Anz wrote in an email. OTMI001 will be Anz’s first EP since last year’s RA-Recommended Loos And Twos on Hessle Audio.
Read more about that record and more in our recent Breaking Through feature with Anz.
Joe Munday, a musician, producer and DJ from South London. Dampe brings a wealth of infleunce from across the world. Living in a richly diverse culture such as London, Dampe has never been short of ideas with his eclectic track selection on Rinse FM. He took some time to join our Q&A series:
Where did you grow up? What’s the creative culture like in your city?
I moved around the midlands as a kid, spent the teenage ‘growing up’ years in the South West/Devon but have lived in London longer than anywhere else now. Devon is a sick place to be a teenager, close to Bristol and Plymouth for music and going out but also lots of country and beaches to fuck about on.
Usually i’d say that London’s creative culture is immense, forever shifting and makes the fight that it is to live here 100% worthwhile. Its just like they say, there’s a million overlapping communities, scenes and lots to get excited about and overwhelmed by.
Covid is stifling all that at the moment and it’s bleak to see venues and communities on their knees. I think you learn a bit of resilience living here so hopefully it will bounce back although sadly there are people and places going under without support. Those first responsible dances back will be so, so good and hopefully make everyone appreciate and explore London’s culture, as well as support independent creative endeavour more.
What made you get into music, who were the people around you which influenced you?
My mum made me pick up an instrument because she was gutted she couldn’t play anything. Then getting to school you meet people who lend you music or turn you on to different sounds. It was pre-streaming, burning CDs and playing them in the car era. My friend Sami El-Enany burnt me a copy of Hail To The Thief and some Venetian Snares I think – we actually released an album together this year. So those formative friendships are still really influential for me, who you party with, who you create with.
What were early experiences in music, did you start with playing instruments?
Yeah, started with guitar – Spanish fingerstyle, traditional folk tunes. Then played in questionable bands for years before taking music tech at college and spending all my time in the studio they had there. My parents were never musicians but they always had music on in their houses.
What made you decide to release music with Darker Than Wax?
I was programming a venue and we started doing a couple parties with the 4 To The Floor crew (s/o Kengo) who booked the DTW guys when they were over here one summer. We got to talking and bouncing some music back and forth. I hooked up with Marco when I was in NY last year and the rest just worked out slowly really. The label, crew and everyone involved is just great. I’m hugely grateful for the support and to be part of the family.
Describe your show on Rinse FM
I’ve been hosting a monthly show on Rinse for two years now. It’s mostly new, upfront dance music, house, techno, garage and everything in between. Ive done a couple downtempo and ambient shows during peak lockdown when my head just isn’t up for two hours of dance music. This year i want to switch it up a bit and start getting guests in for mixes as well as play older finds too. I think now I’ve made myself part of the furniture i can branch out a bit. Stoked to be on the station though – banging place and people.
Have a listen to his previous show from Decemeber:
If you weren’t making music, what would you be doing?
I literally have no idea. Music and sound design is the day job at the moment so i guess life would look very different. I like taking pictures on 35mm – is that a viable career?
Are there any artists in the UK we should be paying attention to?
Of course! Far too many to mention. Off the top of my head though:
2020 was Pa Salieu’s year for me, Coventry’s finest rapper – every project is so cold expecting massive things from him this year.
Ghetts continues to be the UK’s best MC imo
Been listening to an album from a London based cellist called Oliver Coates who released an album last year called skins n slime which is insanely beautiful and the production is close and intense
I always look out for Sheffield based Yak’s productions, deep, percussive club tracks on a couple great labels
Bristol’s Livity Sound just put out a great EP from a producer called surgeons girl i really like – Lush new UK Techno.
Couple UK stalwart labels and crews i follow who always are pushing great dance music but I’m sure won’t be news to you guys: Apron, Hessle, Livity, Wisdom Teeth, Time Capsule, WOLF, AOTN, Faith and Industry, Rhythm Section, Co Op, Touching Bass etc
How have you tried to change your approach going into your most recent record, in comparison to your previous EPs?
From the outside looking in I think the process and approach would appear very similar (me sitting at my synths for months on end, sometimes frustrated and sometimes serne) but to me they do all feel different and mark distinct people, moments in time, spaces and/or gear used.
More interestingly and importantly, this EP specifically had me questioning/thinking about sample culture a lot, the massive imbalance in the dance music industry/the world and appropriation in general – lessons i’ll be taking forward.
Describe your EP in three words
Colourful, hopefully engaging
Make sure you check out his latest EP through singnapore based record label, Darker Than Wax. Titled, ‘Oil’, Dampé doesnt hold back in showing you his extensive sound design skills, you can purchase here.
Henry Greenleaf is a rising UK producer currently based in Bristol, in the south-east of England. Inspired by the creative culture in Bristol for electronic dance music, Henry draws inspiration from Jungle, Post-Dubstep, and an array varied techno from Drumcode, to the ambience of minimal. Henry’s new EP titled, Taking First, becomes the fourth release under Par Avion. The opening single, ‘Taking First’, is a heavy scorching opener which immediately grabs your attention. Henry seems to take inspiration from Drumcode and dubstep to create a quickly evolving track. The following track, ‘Rumble’, carries the dark engrossing feeling of nervousness, as the steady opening build creates an atmosphere of suspense.
The B-side carries the energy of the previous tracks but with more sounds befitting on the dancefloor. It could be the rhythmic swelling from the percussion elements in the closing track, ‘Rumble Cando Remix’. Or it could be more the ethereal, alien-like sounds resonating from the synthesiser during the opening build in the track, NOFM.
The full EP releases on the 22nd of January. You can pre-order here
Irish producer ELLLL has a new three-track EP coming out. Housebreaker, due out on February 5th via Dublin-based First Second Label, features three versions of the title track, including a remix courtesy of Parris. This is ELLLL’s first EP since 2019.
The Berlin-based artist and Gash Collective cofounder released three 12-inches that year, including Febreeze on First Second Label and Glisten via Paralaxe Editions.
Her most recent release was a remix for Copenhagen-based producer Erosion Flow, along with a track on Gash Collective’s first compilation. Listen to clips of Housebreaker.
Grammy-nominated electronic music prodigy ford. today shares “In My Eyes”, the fourth and final single from his highly anticipated sophomore album The Color of Nothing — out October 16, via ODESZA’s Foreign Family Collective.
“In My Eyes” is another sonically expansive track from the hotly tipped artist, blending minimal synth waves with a midtempo beat and acoustic-electronic sounds. The track features vocals from Canadian streaming sensation and close friend VERZACHE, who is one of the hottest rising names and was due to go on tour with mxmtoon this year before COVID-19 hit.
Speaking on the track, ford. shared “I began writing this track back in February of 2019. A year later, I finally had a flushed-out demo. Quarantine had gone into full effect and one of the things keeping me grounded was Facetiming my friends. I would check in with Zach (Verzache) and we would have these long conversations about mental health, missing touring, and how quarantine was affecting our writing processes, etc. I remember sending him this demo on one of our calls and he sent back a full finished verse the next day. The lyrics and melodies channelled a lot of the themes we had been talking about and it immediately resonated with me. Immensely grateful for dudes like Zach and every opportunity I get to make music with close friends; nothing quite like it.”
Check out the music video for the ‘In My Eyes’ below, and let us know what you think:
Oscar Jerome’s dynamism as an artist, and instrumentalist has been exciting to see in the last year. From catching my attention with the stunning single ‘Do You Really’, to his debut album, ‘Breathe Deep’ feels like a culmination of his noteworthy EPs and singles. Oscar began the year strongly with what appeared like a short three-track EP, titled ‘ Your Saint’ ,but instead, all three tracks would later feature in his debut album. The energy infused with the long winded, enduring single, ‘Gravitate’ is one my stand out tracks in the album. The broken drum pattern, and slow burning congo drums, accompanied by the steely resonating guitar sits beautifully with Oscar’s vocals, and gentle backing vocals.
Oscar Jerome oozes with emotion for the track, ‘Give Back What U Stole From Me’. Beginning with a momentous introduction with the drummer making full use of every drum piece from the cymbals, hi-hats, and kicks. The drums create a captivating start for Oscar Jerome to take on different style with his vocals than I’ve heard before. Seemingly taking some inspiration from The Kooks’ lead singer, the track still feels very much like his own, with his vocals developing more passion as the it goes on.
‘Timeless’ sees Oscar Jerome team up with the amazing Lianne La Havas. Beautifully dreamy and moving, hearing their vocals harmonize with each other throughout is really special to hear, as the stripped back production allows their vocals to take center stage with each instrument gradually accompanying their vocals as the track unfolds. London based spoken word artist, Brother Portrait joins Oscar Jerome in an unlikely link up for the track, ‘Your Saint’. Brother Portrait uses vivid imagery and metaphors to provide an excellent interlude in between Oscar’s first and second verse. It’s great to hear Oscar experiment with different styles with his vocals and overall composition for his debut album. He is an impressive songwriter and guitarist, and should be someone you look out for!
You can listen to ‘Breathe Deep’ below. Please let us know what you think:
A programmed exhibition about the history of electronic music is opening at London’s Design Museum on 31st July as art spaces begin to reopen.
The exhibition, titled ‘Electronic: From Kraftwerk to The Chemical Brothers’, was originally scheduled to take place from 1st April to 26th July, but was postponed in March as exhibition spaces closed their doors due to the spread of coronavirus.
It will explore the “hypnotic world of electronic music” and “discover its global impact from underground movements to the mainstream,” and features appearances from the likes of Jeff Mills, Ellen Allien, Jean-Michel Jarre and more. It will also feature a 3-D experience surrounding electronic pioneers Kraftwerk, with the installation sound tracked by legendary DJ and producer, Laurent Garnier.
It will be compulsory to wear face masks, and to remain socially distanced whilst the exhibition is taking place
One of the UKs most exciting drummers in Yussef Dayes has collaborated with the forward-thinking multi-instrumentalist and composer, Tom Misch, to release the pulsating new album ‘What Kinda Music’. The opening single, ‘What Kinda music’ is a slow burning beginning to an album which Yussef on the drums nicely sets the tone to, whilst Misch creates an eerie mood with the heavily reverb bassline which lines up perfectly behind his vocals.
The experimental dynamic throughout the track with his vocals and guitar is a direction in which Misch didn’t do much of, for his previous album, ‘Geography’, where he seemed to be trying to make more classically structured music and arrangement. Titling the track, ‘What Kinda Music’ adds to the experimental, instinctual natural relationship between Yussef Dayes and Tom Misch for the track, and the synergy between the two is continued throughout.
Stand out single, ‘Nightrider’ has a wonderfully relaxing tempo which is difficult to skip past as it seamlessly blends from the previous track. American Hip Hop artist, Freddie Gibbs blesses the track with a bumping up-tempo freestyle, casually ebbing and flowing around snares.
‘Lift Off’ has an amazing momentous build started with the smooth leading bassline permeating throughout the track, the combination of the lead bass and drums took me back to moments during Mansur Brown’s previous album ‘Shiroi’. Similar to how Mansur Brown would let his bold imposing guitar provide the unwavering presence for his standout track, ‘Mashita’, Misch turned the focus to allow space and time to show off his guitar string play. The Following track, ‘I Did it For You’ sees Misch and Dayes coming together for a funk fuelled groove which slowly encapsulates Tom Misch’s ethereal, echoing vocals resonating around Yussef Dayes’ drums as the track develops.
Coming towards the end of the album, the stunning stand out track, ‘Last 100’ elevates the wistful, dreamy mood created from the previous track, ‘I Did It For You’. The piano chords brighten the spirit, all the while, Misch’s raspy soft vocal line glides with the quick guitar finger play throughout.
Misch’s seems to create a nostalgic mood towards the end of the album for the last two tracks; ‘John Mangos’ and ‘Storm Before The Calm’. With the latter, featuring a memorable conversation around from his manager about the album as well as, whilst ‘Storm Before The Calm’ invites Kaidi Akinnibi on the saxophone which provides settling tone and switch from illustrious build from the drums and guitar.
Tom Misch’s fearless change in direction from ‘Geography’ is a bold move which will entice new listeners to work and strengthen his already loyal fanbase. Known to have spent some time producing beats on Ableton by himself, linking up with Yussef Dayes on the drums seemed to allow him to put those ideas into a live album which he was not able to do in previous albums, and i think it’s definitely paid off. The album is terrific from start to finish
Where are you from? Describe the kind of creative culture within the city you were raised in?
ALI: I was born and raised in Bishops, Stortford about 30 miles north of London – it was a commuter town with very little cultural output.
Bands played in local pubs or occasionally in the one club there was called Triad – which became the juicy Duck. It was here I saw my first live band when I was about 12; Shakatak, who were just starting and who were from the town. We followed some local bands around the pubs of the town and local villages as well. There was one record shop in the town which was always full of interesting looking kids; I bought my first ever single in there – No more heroes by The Stranglers. But with not much on offer in the town, me and my brother or mates would take the train into London to see bands.
What made you guys into music, who were the people around you who influenced you?
ALI: My older brother Jez was a big influence in getting me into music. He had a knowledge which I didn’t have and a growing record collection which I started to listen to. A mate of mine called Chris was into punk and new wave and would come round to play me new singles he had bought – that gave me the confidence to go and buy my own. I loved it.
I learnt guitar as a kid but hated it – I ran away from home to avoid a lesson once. Then at school I was picked out to learn double bass because I was tall and because I had a grounding of guitar. Free music lessons then. So I learnt classical double bass but soon started learning bass lines from records and playing along. My bass teacher was great – Mr Jobson – my parents tried to match make him with my auntie once. It didn’t work out.
We had music in the house a lot but also at Church and my first experience playing with a band came with a group who played choruses and modern hymns regularly at the Sunday services.
Are there any producers/artists you work with really well, what makes your relationship work?
RICH: Working with Dean Thatcher, Jagz Kooner and Gary Burns (The Aloof) , David Holmes and Andrew Weatherall in the 90s had a huge influence on me and how I developed as a musician and producer.
We have worked with many great sound engineers over the years. In the 90s..Tim Holmes (Death in Vegas), Luke Gordon (Spacer), Hugo Nicholson and more recently Shuta Shinoda at Hackney Road studios.
In terms of Numberit has been great working with Dan Carney (Astronauts) and Louisa and Heloise from Landshapes, Byron Wallen and John Metcalf…inspiring.
Most importantly for me is having worked with Ali since 1993. he is a really creative musician, patient and open minded. As a rhythm section we work really well together and seem to have our own way of immediately understanding what the other person means. It doesn’t always work but as a musician you learn by making mistakes. Often we hear things differently to the other person that that is often when the really inspired music comes from.
What were your early experiences in music, did you start with playing instruments?
ALI: I learnt guitar from an early age and then had double bass lessons and was part of a youth orchestra for a brief moment. There was music in my home and everyone in the family learnt how to play the piano except me…..I still can’t play it. I picked up the electric bass and played in school performances for a while and then at University I was in various bands playing Velvets and Bowie like stuff. I eventually chose P funk as my thing with the Freakin Habit Forms
What equipment did you use to produce your forthcoming album?
ALI: We had wanted to try new sources for writing music together, and Number allowed us to experiment with sound and process again. The foundations for most tunes were from the Volca Beats and electric bass put through various fx. At my studio I tended to record the acoustic elements of the sound like the gato drum and xylophones etc. using a Protools set up with Neve preamps.
The Moog Taurus pedals and Casio keyboards were also well thumbed. Most of the live drums and some of the bass was recorded in an old industrial incinerator in west London; that gave the sound a particular flavour. Otherwise, a fair amount came from working post-production with Shuta Shinoda in his Hackney Road Studios. He uses some great analogue compressors and puts everything through a 2 inch tape machine and we get to use his old Eventide as well…..
Are you signed to a label, if so what’s your relationship like, if not, has that been out of choice?
RICH: We are signed to Sunday Best Recordings, Sarah Bolshi and Stan Watson have done a great job for us, they have been very understanding of our high expectations and are really creative with their limited budget. It is very hard for Independent labels these days, especially when trying to promote a new act.
How have you changed your approach from your previous project to your forthcoming album?
ALI:Number is about Rich and myself plus friends who we have got involved as vocalists or instrumentalists. Dan, Heloise and Luisa gave a lot of themselves and lifted the tracks enormously. John created a beautiful patchwork of his strings and Byron came up with some suitably skewed trumpet for us. We have had to adopt a different approach in that we haven’t been able to work in the same physical space that much, and this, together with financial restrictions has definitely had an impact on the shape of the music.
The sound and focus of the album has shifted as we’ve written and recorded it – its cool to have that going on. I’ve enjoyed playing a lot of other instrumentation on it and feeling in the right mindset to try vocal ideas without fear of being laughed at – I’m over that. Lyrics also allow for another layer of meaning to the music for me.
Rich and I first started recording disco and hip hop drums and bass ideas onto a simple tape recorder in 1993. That spirit of putting things together in a slightly ad hoc way and revelling in the simplicity and experimentation of it has returned to us on this album I would say.
Have a listen to their new album, and purchase through bandcamp:
We’ve updated our new Electronic Dance music playlist, which is a blend of our favourite and recent music from deep house, techno, future beats, garage, as well as, more. We have new music coming from deep house, and techno producer COMPUTER DATA, DJ Kush Boogie, Little Dragon, Dark Comedy, and Larry Heard to name a few
Check out the playlist below, and let us know what you think: