Monday, 30 August 2010

Disclosure - 'Offline Dexterity' EP

To say I felt completely worthless and untalented after to listening to Disclosure's debut EP would be an understatement. The duo, comprising of brothers Howard and Guy Lawrence, are only aged 15 and 18 respectively, information which only further cemented the quality of this wonderful debut. Falling into the same indefinable areas as Joy Orbison and George FitzGerald, their tracks blend elements of 2-step/garage, dubstep, house as well as R&B/Soul. The result is a future garage sound which contains strong 2-step rhythms, warm rising synth lines, disembodied R&B diva vocals which contribute to content melodies as well as dreamy dub sub-bass. It's the perfect example of pastiche in UK bass music.

The EP entails two tracks, 'Offline Dexterity' and 'Street Line Chronicle'. 'Offline Dexterity' is the more obvious and explicitly dancefloor orientated track of the two. Set at dubstep's 140 bpm average, the track's 2-step rhythm sets the basis for a structure around which heavy, distorted synth lines and distant wailing diva vocals will send revelers into a frenzy (I without doubt include myself in this category). The track which really excites me though is 'Street Line Chronicle', a track I'm so impressed by I rate it as the second best track I've heard this year (I've racked up 30 listens of the track on my iPod today alone), just behind Peter O'Grady's masterpiece 'So Derobe'. 'Street Line Chronicle' is an altogether smoother track, with slightly better and well thought out production. The deep and luscious 2-step beat once again provides the structure of the track. The track slowly builds, with an ever increasing volume of deep sub-bass, beautiful harmonies created by well-arranged synth chords, as well as intricate percussive elements (best displayed at 1:20 and 3:20) and a soft, lamenting diva vocal which you can't help but connect with. The elements combine brilliantly, and converge to create a wonderful sound which is getting more exposure as the months move on. 

This sound cannot be defined, pined down by the latest term ('drumstep', one of the worst examples to be handed out recently). The sound is one of its own, but no tag can be attached, something which I only see as a positive. These kids will carry on experimenting with music, as will their predecessors Joy Orbison and George FitzGerald. There'll be no real way to define what they're doing, apart from that the sounds coming from their 7 and 12" are well and truly wonderful. 

You can check out Disclosure's myspace by visiting, where you will find a couple more of their fantastic productions. The 'Offline Dexterity' EP will be released on Moshi Moshi Singles Club on the 6th September, so please make sure you purchase it. You can listen to the incredible EP preview in the link below, please don't miss out on this essential listening. And don't worry, if the brilliance of 'Street Line Chronicle' makes you cry you're not the only one. Play it loud; alongside JO and Burial preferably.

Friday, 27 August 2010

LV feat. Okmalumkoolkat - 'Boomslang' (HDB041)

"BoomslangBoomslangBoomslangBoomslangBoomslangBoomslangBoomslangSnake". This will undoubtedly be the only thought in your mind once you've given LV's new number a run through.

The time of the year for the release of the freshest and most exciting tracks from the dubstep/garage/house/techno genres is upon us, and to kick us straight into gear the preview of LV's new track, 'Boomslang', has been unveiled in a new video, and my word this track is huge. The track has been bubbling for a while, with dubplates exclusively handed to the most promising DJ's out there; Peter O'Grady (aka Joy Orbison) dropping this track way back in June alongside Ramadanman's juke influenced 'Work Them' at Stealth's Wigflex night.

'Boomslang' is LV's first release since his experimental release ('38' EP) on Keysound recordings in May is a dancefloor killer, featuring the vocal talents of South African MC, Okmalumkoolkat. The track, which was conceived whilst LV was in South Africa, is his very own interpretation of the Kwaito house sound currently thriving in South Africa, something which quickly becomes evident in the funky 4x4 house beat and the outlandish synths which animate this layout further into life. The most noticeable element of the track though is Kool Kat's repetition of the word 'Boomslang', which seems to be repeated about 500 times or so. This track is not alone in the repetition of single words or phrases though, with Addison Groove's 'Footcrab' and Ramadanman's 'Work Them'. Although the two mentioned were clearly influenced by the Chicago Juke movement in their use of the repetition, it is a feature being experimented with more often, a feature which you'll no doubt love or hate (I have a feeling some will find Kool Kat's vocal incredibly annoying). I think it's a very effective characteristic though, especially with tracks made just for the dancefloor, with the repetition set against a funky 4x4 beat almost hypnotising you into a groove.

The track is quite a welcome change for Hyperdub, balancing out the more thoughtful and experimental releases with a single that looks set to terrorize clubs into a frenzy over the coming months. 'Boomslang' will be backed with 'Zhang', and the EP will be released on the 11th October. Check out the brilliant video below (directed by Mello Moropa) for a preview of the track, to say this is essential listening would be an understatement (If Kool Kat isn't the coolest man ion the planet then something is wrong, the hi-top and glasses are out of this world).

Monday, 23 August 2010

Way Out West 2010

(Photos By Grace Wazowicz)

How and why I ended up at Europe’s biggest city music festival is quite a long, so I won't bore you. I was fortunate enough to receive the opportunity of attending Gothenburg’s Way Out West festival, an opportunity I certainly was not going to turn down.  With little previous knowledge of the festival I was unsure as to what to expect from it, left with the mere information that the festival took part in the centre of Gothenburg and the line-up’s in the past have generally consisted of popular ‘indie’  bands.  I was apprehensive on arrival, but left content with what the festival had to offer. To say I was pleasantly surprised by the quality of the festival would be an understatement, with the majority of elements involved more than surpassing my original expectations.

The first element that really hit me was the brilliance of the location. Placing a festival for 25,000 people in the centre of Sweden’s 2nd largest city may seem like a strange idea, but it’s one which in a way made the experience so enjoyable. Being able to walk back to an apartment/hotel outside the park within 15/20 minutes at most after a long, tiring day is perfect, far better than trawling back to cramped tent on a damp and rather muddy field in my opinion. And even if you don’t fancy the 15/20 minute walk (for those of you who are lazy for the sake of being lazy) the transport connections are sound, with trams and buses running past Slottskogen Park and moving on into the city centre on a very regular schedule.

The setup of the facilities in the Park was also well laid out, producing a spacious enough venue without forcing you to walk a great deal between stages etc. In total there were three stages, the Flamingo (main stage), the Azalea (2nd largest) and the Linne tent (which was in fact more of a marquee and the most isolated of the three stages). The time-table was worked out so that performances on the Flamingo and Azalea stages would never clash, an essential factor due to the fact they were placed tentatively opposite each other. However, this occasionally led to clashes between the main stage and Linne tent, which led to frustrating sound bleed in the Linne, something I will elaborate on later. Food and drink stalls as well as toilets were also of a very good quality, providing great service and being suitably placed directly next to the three stages.

One of the factor’s which made a great impression on me was the relaxed and comfortable atmosphere which resonated around the 25,000 strong crowds.  No moshing, no frantic jumping; just calm, attentive audiences there to appreciate the intricacies of the music they were being exposed to. This is not to say the audience was completely inactive, as the crowd was still lively and got involved with acts when rendered appropriate. This is something which inexplicably occurred during Gothenburg-born Hakan Hellstrom’s performance, a musical entity I believe only those from Gothenburg can actually comprehend and at least feign satisfaction from. Apart from being reasonably laid-back and conservative, this was a crowd full of well-dressed and attractive individuals. For some it almost seemed the items they were wearing had more of a bearing than the acts they were seeing, with Nudie jeans, YMC shirts and Ray Ban’s appearing time and time again. This was a far cry from your England football shirts (with ‘66’ preferably printed on the back), grey Nike tracksuit bottoms accompanied by a pair of either Lacoste or Lonsdale Velcro trainers. It was a pleasant change to say the least, although the vast amounts of black/grey Nike vintage blazer’s on display in the mud-drenched centre of the field almost brought me to tears (wear old trainers, don’t ruin beautiful ones... please). 

The one unique feature of the festival which I have yet to come across is it’s ‘Stay Out West’ venture. Essentially, after the day in the Park finishes the party continues into the nightclubs of Gothenburg, where more artists/DJ’s are waiting to perform to adoring crowds. A fantastic idea. Well in principle at least. The only issue impeding this excellent concept was how do 25,000 festival goers all move onto 500-800 capacity club venues.  This is a problem I unfortunately had to endure, resultantly missing out on the one act I had been anticipating with the most zest, the first lady of dubstep Miss Mary Anne Hobbs. 1.45 (bearing in mind MAH’s set begins at 2.15); at least 100 people in-front of me in the queue for the Park Lane club, where bouncers are refusing further entry as the club is packed to its rafters. This was the most disappointed I had been since Andriy Shevchenko apprehensively placed his penalty down the throat of Jerzy Dudek’s goal in the 2004/2005 Champions League final (why Sheva? Although your 173 goals in 296 games more than make up for it... apologies for going off topic). However, in hindsight this was a small glitch on what was a fantastic weekend. 

The line-up provided a pleasant surprise. Although renowned firmly as a festival for indie and alternative bands, this year’s line-up had a nice balance and variety about it. Yes, there were an abundance of your so-called ‘indie’ bands/artists, but this year also had good old 90s hip-hop in the form of the Wu-Tang Clan, rock and roll with Iggy Pop & the Stooges, La Roux’s brand of electro-pop as well as the Congo based musical group Konono No.1 who presented a distinctly African sound. Although Q-Tip cancelled his appearance, something which left me slightly aggrieved  mainly due to my undying love for A Tribe Called Quest, this line-up left me more than content, a feeling which would soon be enhanced by the excellence of certain select artists.


I debated long and hard about where to start in terms of appraising the quality of particular artist’s performances. I have decided it is only fair to comment on those acts which I saw for a sustained period, which allowed me to be enthralled in their sounds. And there is no better place to start than with The xx, who in my eyes provided the set of the festival.

The London-based trio who were recently nominated for the 2010 Mercury Music Award with their debut album ‘xx’ (although how much this truly means is questionable when you consider Dizzee Rascal and Mumford & Sons have bizarrely been gifted nominations from a more than generous committee), gave a wonderful performance, spreading the mellow and calm aura their album evokes around an atmospheric Linne tent. I must praise the organisers as well as The xx themselves at this point, with the decision to place the band as the final act on the Linne stage on the Friday night at the time of 11pm (a similar time to which The xx recorded their album in a small garage, partly attributing to its moody sounds) paying dividends, providing the foundation for the trio to construct a unique atmospheric buzz which thrived on every luscious beat that the brilliantly gifted Jamie Smith fashioned on his Akai MPC. The xx flowed freely with ease between almost every track from their fantastic debut album, with displays of excellence particularly evident in the tracks ‘Islands’ and ‘Fantasy’, the latter’s heavy bass reverberating around this huge marquee whilst the soft wailing ‘fantasy’ of Romy and Oliver slowly implements itself into the foreground of this superb interlude, finally breaking into a previously unheard dub beat which Smith once again orchestrates in a self-assured and composed manner. 

The performance of tacks from the album was almost flawless, yet the pinnacle of the set for me was provided in a surprising, yet brilliant cover. Whoever came up with the idea of covering the UK funky house track 'Do You Mind' by Crazy Cousinz featuring Kyla is a genius. The trio made the track their own, adopting their usual minimalist approach to the track, and resultantly transforming it into their own artifact with the subtle and hushed sound associated with The xx suiting this track perfectly. You know a band is excellent when no element of a set is noticeable except for the high quality of the music. For the most part each individual stands motionless, dressed in all black (apart from Jamie who wears a blue buttoned down shirt beneath his black Nike SB varsity), Romy and Oliver almost whisper their vocals and say little to nothing to the audience in transitional periods between tracks. The don;t want fame or any kind of attention. All they want you to know is that they're creating wonderful music, a message they firmly conveyed with this magnificent performance.

An artist whose performance I was really anticipating was that of the intriguing Lykke Li. The 24 year olds voice is truly unique. Her tone evokes a mystical and dreamlike sound that you can’t help but be drawn to, and I would go as far to say she is the best female vocalist I’ve heard in the past 3-4 years, and with relative ease.  Her debut album ‘Youth Novels’, released in June 2008, really announced the arrival of Lykke Li, with the mix of alternative rock and electro-pop elements of the album providing a suitable canvas on which Li’s magical voice could take centre stage. This translated onto stage also, with focus undoubtedly lying upon the effervescent Li. The members of the band were mere extras in a performance which was manufactured to demonstrate the Swedish singer’s phenomenal voice, and rightly so. Although towards the end of her slot Lykke Li apologised for her supposedly deteriorated voice, it was not in the slightest evident. Her voice, although not at its very best was incredible for a live performance, and her energy and stage presence were the greatest I experienced all weekend. During her rendition of ‘Breaking It Up’ she even made use of a speakerphone, the first and last time I think I’ll see such an audacious yet effective act. The crowd adored her. Understandably so on this performance.

When The Chemical Brothers were announced as headliners for the final night I was hesitant to say the least, with mixed reports from recent performances. Thankfully, my prior reservations were dismissed by a very strong performance from big beat electronic duo Tom Rowland and Ed Simonds. Their performance included sleek live mixing between hits from their 7 studio albums, which had feet stepping and head nodding. The audience were also endowed with extraordinary visuals which were in sync with the live mixing, an aspect which in my opinion made the experience so special. It would be interesting to see whether or not the same intensity and emotion would be created had the visuals not been present, although in credit the live mixing exhibited was of a very good quality. The set, which lasted just over an hour, opened with ‘Galvanise, and from this point onwards travelled through ‘Hey Boy Hey Girl’, ‘Block Rockin Beats’, ‘Star Guitar’, ‘Let Forever Be’, Out of Control’ and ‘Saturate’ just to name a few. I can confirm this duo have not lost their touch; they more than lived up to their headliners slot on the main stage.

Wu-Tang Clan or Beach House? This was undoubtedly one of the tougher decisions I was presented with over the weekend. However, when it comes down to it, how often do you get the opportunity to see Wu-Tang Clan? I just couldn’t resist the prospect of hearing tracks from the seminal ‘Enter The Wu-Tang (36 Chambers)’ performed live. Although the legendary hip-hop group originating from Staten Island, New York had absentees in the form of Method Man and the late Ol’ Dirty Bastard, the 7-man strong crew delivered a fine performance. Founder and de facto leader RZA stood in the background sipping champagne as he watched his 20 year project continue its reign, with GZA, Raekwon, Ghostface Killah, Inspectah Deck, U-God and Masta Killah taking turns to rap over RZA’s stripped-down, slick beat work. To my sheer delight, most of their hour long set was compiled of their quality material, rather than commercial successes such as ‘Gravel Pit’. Instead much of the ‘Enter The Wu-Tang (36 Chambers)’ album was explored, with classic productions such as ‘Protect Ya Neck’, ‘C.R.E.A.M.’ and ‘Wu-Tang Clan Ain’t Nothing To Fuck With’ taking centre stage.

I think it’s fair to say these acts provided the highlights of the festival for me, but support came in abundance from smaller and lesser known bands, as well as artists I’d had admired for preceding works. One of these very acts was LCD Soundsystem. Unfortunately, due to my craving for what was a first class burger, I missed part of the set. However, from what I saw and heard, I was once again impressed by the multi-talented and extremely cool James Murphy. Murphy’s 2007 album ‘Sound of Silver’ stands out from the rest of his work, experimenting beautifully with dance/electro, punk and alternative rock. All I wanted to hear from the set was either of ‘Someone Great’ or the 7 minute marvel ‘All My Friends’. I didn’t get my fix of ‘Someone Great’, however, Murphy delivered a superb performance of ‘All My Friends’, in all its extended version glory as well, compensating for the lack of the former track. As well as ‘All My Friends’, Murphy got the crowd moving playing what is LCD’s best known track to date, ‘Daft Punk Is Playing At My House’. LCD’s first ever single ‘Losing My Edge’ was also selected in a well chosen tracklist that balanced itself evenly between tracks from  Murphy’s 3 studio albums (‘LCD Soundsystem’ - 2005, ‘Sound of Silver’ - 2007, ‘This Is Happening’ - 2010). 

American indie-rock was well represented in Gothenburg, with The Drums and Local Natives taking to the Linne stage. I have previously been impressed with The Drums, a Brooklyn four-piece whose 7-track ‘Summertime’ EP drew dangerous comparisons with past great such as The Beach Boys and The Smiths. On this showing they are a million miles away from reaching such resemblance, with Jonathon Pearce vocals sounding distinctly average in relation to what has gone before and his peculiar dance moves seemingly a bad impersonation of Ian Curtis’s ‘fly’ dance. This was an off day for The Drums, but I’ve seen them perform far better in the past, so please don’t be put off seeing them live. The Local Natives on the other hand thoroughly impressed me with their brand of what I’d almost term modern folk. The LA band’s debut album ‘Gorilla Manor’ was a very impressive effort, met with wide critical acclaim and the opportunity to tour Europe.  The five-piece act hit all the right notes live, with the performance of ‘Sun Hands’, ‘Airplanes’ and ‘Wide Eyes’ sounding just as good as the MP3 version’s on your iPod. A special word must be given to Reflection Eternal, the hip-hop duo consisting of the great Talib Kweli and DJ Hi-Tek. Their performance was one which I thoroughly enjoyed, performing tracks from their innovative 2000 album ‘Train of Thought’ (which was released on the well-renowned underground hip-hop label Rawkus Records – has releases from the likes of Big L, Black Star, Mos Def etc...), paying homage and respects to Slum Village, J-Dilla, Gangstarr (in particular the late Guru) as well as Bob Marley, playing ‘Full Clip’ and ‘Jammin’ respectively during their entertaining and well thought out set. 

There were also a couple of acts of whom I was somewhat unimpressed by. In all fairness I can acknowledge these are exceptionally capable musicians who are good at what they do, it’s just that I found the performances of both Mumford & Sons and The National very dull and unspectacular. I refuse to comment on the performance of Mumford & Sons, as I feel my account would be vastly biased. I strongly dislike their music, with the combination of Marcus Mumford’s grating voice, banjo’s and mandolin’s generating a mediocre sound that too many have heralded as exceptional folk music (the Mercury Music Award committee are guilty here). I guess it’s just a matter of personal opinion thought, and I do admit that they are of course very talented individuals. However, their ‘banter’ with the crowd was almost as bad as ‘Little Lion Man’. Marcus jokingly asked “where have the great generation of Swedish footballers gone?” quickly moving on to make the serious claim that “Larsson is the last great player you produced”. Of course Marcus, because the man that spent much of his career in the Scottish Premier League is far superior to Zlatan Ibrahimovic, who in his career has played for Ajax, Juventus, Inter Milan and Barcelona (and might I add he moved for a fee of £40 million in the summer of 2009). Apologies for going off topic, I’m afraid idiotic comments on the subject of football frustrate me to a great degree.

The National were a vastly different situation to Mumford & Sons. I had previously minimal knowledge of the Brooklyn-based indie band, whose praises had been sung many a time by friends who considered their performance to be the highlight of the festival. Once again I found their set very lacklustre, and none of their tracks really stood out or made a connection with myself. I couldn’t help but think I’d heard so many bands formerly that sounded very similar, and the extreme emotions of lead singer Matt Berninger (potentially alcohol fuelled, he was frequently drinking from a coffee cup and then later more explicitly from a wine glass) helped to further distance me from the music. The one track I recognised was the beautiful ‘Fake Empire’, which to their credit the band performed extremely well, with Berninger’s vocals sounding great when under restraint against a storm of wonderfully arranged chords. I found it hard to engage with, but many heralded the performance as the best of the weekend. I beg to differ, although I think I’m going to have to give the band a serious listen to see whether the hype is deserved.

All in all, Way Out West 2010 was a fantastic experience that I would recommend to anyone. Perfect location and facilities. Great people. Diverse music. What more could you ask for? I must say a huge thanks to Grace Wazowicz for kindly providing the great photos from the weekend. You can check out more of her work at And thank you very much Helena for dealing with me and Dave on that weekend... it's a job I wouldn't wish on anybody.

Monday, 9 August 2010

George FitzGerald (Groove Theory - Tell Me Remix)

A beautiful remix from an extremely talented producer. Young Cambridge student George FitzGerald, who last month had his great debut EP 'The Let Down/Weakness' released on the forward thinking Hotflush label, has taken the 1995 track 'Tell Me' by American R&B duo Groove Theory who are recently reformed after splitting back in 2001.

FitzGerald's productions to date (which include 'Don't You', 'Painted Jezebel', 'The Let Down', and 'Weakness') have been attributed the label's future garage soul and dub-tech in some quarters. I think these are reasonably useful terms, but like Joy Orbison and Mount Kimbie, his music is extremely difficult to pin down and define with the coalescence of different styles in his tracks. However, there are a few traits which can already be seen to re-appearing in FitzGerald's tracks, traits which are setting him apart with a unique and luscious sound. Most simply, FitzGerald's productions are emotional tracks designed for the dancefloor (a feature shared by the likes of JO, Sepalcure, James Blake, Falty DL, Martyn, A Made Up Sound et al). He seems to combine elements of house, 2-step garage and techno within his work, with 2-step patterned beats, warm house and garage melodies provided by soulful vocals as well a Detroit techno soul and ambience feel to his sound.

The characteristics listed above help to transform Groove Theory's R&B infused 'Tell Me', with FitzGerald's remix transforming the track from a slow R&B classic to an emotional dancefloor killer. The track has a gradual start, with a deep simple 4x4 rhythm which is accompanied by the melodic diva vocals, and shortly after the introduction of a nice harmony through the chord arrangements. A wonderful deep bass kicks the track into life at 1:12, and the tracks 2-step rhythm is fully implemented shortly after with the introduction of a shuffling hi-hat and and beat skipping kick drums to accompany a soft 4x4 beat. FitzGerald's work on this track is brilliant, to transform the original Grove Theory track into the track featured below is nothing short of brilliant. Add to this format the inclusion of ambient sounding synths alongside the deep bass, which recalls the sounds of Basic Channel as well as Scuba, then the track is almost complete.

This is definitely a must listen for those of you who have loved FitzGerlad's past releases, or are fans of the current crop of artists who are creating soulful and emotional music which is gaining force and taking over the dancefloor's of underground clubs in London and Bristol. I hope to god this one will get a release on 12" and MP3, it needs be to mixed alongside JO and Shed. Please excuse one of the comment's below as well, I can assure you this is a brilliant track, but it is in no way better than JO's 'So Derobe'. FitzGerald still has a way to go until he can reach the level which O'Grady has set with may favourite track of the year so far. Enjoy the track.

Groove Theory - Tell Me (Remix) by George FitzGerald

Vans Classics - Fall 2010 Lookbook

I've always been very unsure as to whether I've liked the designs Vans have produced in the past, hence the reason I have never owned a pair. However, just recently I have grown interested in the brand and quite fond of it's collection, especially the new Vans Classics Fall 2010 collection, which delivers some great designs if the lookbook is anything to go by.

The pictures included in the lookbook obviously capture the lifestyle associated with the brand, placing the nicely trainers nicely in the surroundings to make them look as if they are naturally a part of that lifestyle. The lookbook images show a number of new exciting designs in the new collection, including new versions of the classic Chukka Boot, Old Skool, Era, and Authentic models.

The highlight for me is without doubt the new versions of the Vans Era, which can be seen in the 8th picture below. The model by itself is for me the a great design, a simple style which is comfortable and adaptable to different styles of clothing. This has only been enhanced by the introduction of new materials and colourways in the Fall 2010 collection. Each design features two colourings, one dominating the the front and back of the canvas, whilst the other colour takes the upper area of the shoe. The different coloured areas also are created from different materials, with the front and back of the canvas featuring suede against the textile material of the upper. To finish off this beautiful design, the shoe includes the chunky white rubber outsole, which complements the colourings and in my opinion completes the design of the trainer.

These trainers are out now, so visit your nearest independent shoe/trainer retailer to find them (I know for definite Size? and Office are stocking the Vans Era's). You will also be able to find these online at either or Enjoy the images from the Fall 2010 lookbook below.

Vans Classics - Fall 2010 Lookbook:

Sunday, 8 August 2010

Size? x Nike Blazer - Pack 1

There aren't many things I do like: music (albeit quality music), football, clothing, trainers and winter are a few of the exceptions to the rule. What I do enjoy is when two of my favourite things collaborate, something which is evident in the next release of the Size? '10 years of obsession' collection. The design for this collection is fantastic, both Size? and Nike have come together to produce a great product, which will no doubt be in extremely high demand.

The model chosen for the collection is the Blazer, probably my favourite design of all-time. The Blazer was Nike's first basketball model when released back in 1972. With it's simple, sleek design, which is easily adaptable to numerous designs, it has firmly established its reputation over the past 38 years as a classic model in the world of the basketball trainer.

Now Size? and Nike have collaborated to create a new line of exclusive Blazer colourways which are limited to 500 pairs of each style. The first pack of Blazer's to be released come into two colourways, simple black and white colourings, with the Size? orange featured on the Nike branding, on the front outsole and the heel of the shoe in order to pay homage to the Size? '10 years of obsession' collection. Also featured on the trainer is the nice addition of the Size? question mark on the heel of the trainer, which combines nicely with the orange to represent the ties to Size?.

The white blazer design features a leather upper, whilst the black colourway of the shoe adopts a suede upper, which in my opinion is a good stylistic and practical design choice. This first pack is beautiful, and it makes you wonder how on earth Size? and Nike are going to able to top these designs with their next pack. However, I think they may just be able to do that if their next design is what I believe it to be. If you look at the photo above, in the background and out of focus is a pair of Size? orange canvas blazer's. If these are what we've got to look forward to in the 2nd pack, then both packs provided are of the highest quality, perfect for trainer lovers and the collectors out there.

The first pack is to be released on Saturday 21st August, with a limited 500 pairs of each design released. To get a pair I have a feeling you're going to have to make it to your nearest Size? as soon as possible after the date of release, otherwise you face a fight on the Size? website ( where 100 pairs will be available on the 23rd August. I will give an update when the 2nd pack of the Size? x Nike Blazer collaboration will be released.

Size? x Nike Blazer - Pack 1:

Friday, 6 August 2010

Falty DL - 'Phreqaflex' EP

Falty DL is prolific to say the least. Over the past year, New Yorker Drew Lustman has mustered the 'Love Is A Liability' LP, 'Bravery' EP, 'All In The Place EP, and now the excellent 'Phreqaflex' EP. For me, Lustman has shown a great sign of improvement and growing maturity in his production style over the past 12 months, with 'Phreqaflex' being his best work yet after a week or so of listening consideration. The EP fully takes on a 90's influenced UK garage sound, yet Lustman still manages to maintain that unique sounds he brings to his work within each of these wonderful productions.

Just listening to the previews of the tracks before there actual release I was filled with excitement, with the short clips ensuring that these tracks would deliver a great future garage soundtrack. The EP revisits the past years of UK garage, taking clear influence from the darker garage which the likes of El-B, Groove Chronicles and Scott Garcia were producing in the mid-late 90's, and combines these sounds with a modern/future sound that Lustman marks his tracks with. Scott Garcia's seminal 'It's A London Thing' is particularly evident of the strong influences on Lustman's work, with the track's smooth grooves provided by a skittery beat and jazzy synths being emulated somewhat in the 'Phreqaflex' EP.

'Phreqaflex' is the opening track of the EP, and immediately makes an impression being the most upbeat and uptempo track on the EP. The track adopts the classic garage structure, taking a well produced shuffling beat, lovely chords which provide a nice harmony as well as a reverberating bass, which along with short jazzy instrumental interlude's have become signature's of Lustman's previous works as Falty DL. The track progresses well, building up tempo and more intricate elements as the track moves on. 'Because You' takes off from where the previous track left, adopting a similar form. The track contains a brilliant skittery drum beat, with a stop start melody provided by lighter chords. These chords however and well contrasted by the darker sounding synths and heavy bassline which add a different element of sound to the EP. The vocal samples used in the track also add another dimension to what is in my opinion the darkest track on the EP, and the one most in line with productions from the likes of El-B, Zed Bias et al.

Now to the final track of the EP, and undoubtedly my favourite (I've already decided it's in my top 3 tracks for 2010 to this point - that's how highly I rate it). There's something simpler and stripped back about this track that really catches my attention, as well as the pure emotion it evokes. The skittey shuffling drum beat is once again near perfect and the off-key chords combine to create a wonderful harmony, which along with the beautiful vocal samples brings something deeper and more emotive to the track. The clips of "If I should lose you,my friends will laugh and say" pull at the heart alongside the luscious chords, rendering this track perfect emotional music for the dancefloor. The track also features the common alien sounding synths which have become a common element of Mr. Lustman's work, which add's an element of future sound to a classic style.

The EP is excellent, and if this is the direction future garage is moving in, then we have quite a movement on our hands. With a few more releases, I really hope we'll see a resurgence of old school garage alongside the future cuts; it's a genre which is due a renewal on the scene. This EP has left me wanting more from Falty as well, and luckily we don't have too long to wait in anticipation. His next EP, 'Endeavour', will be released in September on the Planet Mu label, and will be an interpretation interpretation on house music from Lustman. If 'Endeavour' works anywhere near as well as 'Phreqaflex', then we really are in store for something special. You can preview/purchase 'Phreqaflex' on MP3 or 12" from either Boomkat, Juno or itunes. Enjoy.

Sunday, 1 August 2010

Joy Orbison - Untitled Edit

Apologies for the lack of posts over the past week or so, I haven't had internet access so I've been unable to write anything since Monday. Just before I lost internet access for the week I was delighted to find that man of the year Peter O'Grady had posted a clip of new material on his myspace page. The last track Orbison titled as untitled turned out eventually as 'So Derobe' (although for a short and confusing time was termed 'She Dressed In Her Best'?), and if the new material turns out to be anywhere near the standard of my favourite track of the year as of yet JO fanatics should be in for a real treat.

It was after I arrived home around 1am after seeing Orbison at Lovebox that I discovered this new material, which resultingly led me to stay up until 3, just so I could get a good couple of hours listening to the track on repeat. The first 10 listens worried me a little, I wasn't too convinced that this 1:54 clip of what is named 'Untitled_Edit' would be able to get close to matching the magic and pure beauty of 'So Derobe's' construction. However, after I would say approximately 40-50 listens, I was hypnotised and in love with the track. I find it extremely difficult to explain what it is I love so much about Orbison's tracks, but there is definitely something in them, an element which really connects and literally forces me into deep admiration for such wonderful creation.

As 'So Derobe' took a more minimalist and subtle style than the breakthrough game changing 'Hyph Mngo', this 'Untitled_Edit' further takes the route of a more reserved and intricate style, a sign which I believe shows that O'Grady's production styles and skills are maturing with every release. In signature Orbison style, the track slowly builds with added layers of deeper beats and percussion accompanying the wonderful soulful sampled vocals as the track progresses. The nice claptrap beat and vocals provide the structure, with the added elements of different sound effects, percussion, and particularly the use of poignant and unique synths all contributing to the luscious sound of the track. Give it a listen, I have a feeling it's gonna rival the quality of 'So Derobe', and I hope to be seeing its release on the Doldrums label over the next couple of months.