Review: After a decidedly silent 2013 Burial is back on Hyperdub with a new single that points to pastures new for the stealthy producer. "Rival Dealer" is sure to polarize opinion as it takes a positively unexpected route into hardcore breaks, static interference, all manner of oddball speech samples, diversions and switches in dynamics, and a willfully grainy production finish that borders on punk. Depending on where you choose to dive into the ten-minute track the experience could be very different; experiencing it in full is nothing short of a rollercoaster. "Hiders" too is full of surprises, more indebted to pop balladry than anything remotely garage related, and the emotive croon and swooning piano is only magnified by a Yazoo-esque drum stomp at the midway point. "Come Down To Us" is equally heartfelt, all slow release vocals and languid chords yet constantly fractured at the edges, with yet more surprising turns of bombast waiting in the wings over thirteen minutes.
Review: Proc Fiskal used to run a party called Shleekit Doss that was ecstatic and transcendent while still being fun and silly. He tries to capture the magic of the party on this new EP and does so admirably. The 6 tracks on the EP feels clever but charming. It's a collision of hardcore flurries, warped synths and day-glo keys that is often chaotic but also comforting. Drum & bass, rave, future grime and more all colour its grooves, but the resulting sound is pretty much impossible to define (in a good way).
Review: This first album on Kode9's deeply-respected Hyperdub label comes from the mysterious Burial, who carves out a sound which sends the dormant slinky syncopations of UK garage, via radio interference, into a padded cell of cushioned, muffled bass, passing through clouds of Pole's dense crackle dub en route. 'Burial' - the album - explores a tangential, parallel dimension of the growing dubstep ouevre, using sounds set in a near-future South London submerged underwater. You can never tell if the crackle is the burning static off pirate radio transmissions, or the tropical downpour of the city outside, taking its loud-quiet aesthetic neither from the latest digital glitch software nor a mere nostalgia for vinyl's intrinsic physicality. In their sometimes suffocating melancholy, most of these tracks seem to yearn for drowned lovers, as haunted echoed voices breeze in and out, on roads to and from other times. The smouldering desire of 'Distant Lights' is cooled only by the percussive ice-sharp slicing of blades and jets of hot air blowing from the bass. Listen also for a fleeting appearance from Hyperdub's resident vocalist, the Spaceape, unravelling his cryptobiography. 'Burial' is a renegade signal from other frequencies, a tidal wave of seductive low-impact noise submerging all but the crispest syncopations, and is well on course to be universally welcomed as the standard-bearer for creative vision built upon the grime and dubstep blueprint.
Review: Woof! Hyperdub bring together two of the most recognisable and enigmatic artists of recent times on this 10", as Zomby and Burial square down ahead of the former's new album for the label. Zomby's Ultra LP is undoubtedly one of this year's most anticipated albums and "Sweetz" suggests it may be a very moody affair indeed. Whilst rooted in UK dance, Zomby and Burial do look elsewhere for inspiration too. Just under seven minutes long, "Sweetz" veers through various sub-heavy soundscapes with intermittent rhythmic patters and a distinctive looped vocal sample whose pitch changes with dramatic effect.