Unknown - Sicko Cell/Knock Knock (SWAMP014)

Six months after what can only be described as a relentless domination of the circuit, this year’s most anticipated and discussed record arrives. Talk has abounded the much documented A-side ‘Sicko Cell', relating to various issues and establishing fractions in the track’s reception. The most persistent question has seemingly been the identity behind the producer of the track, a subject which in all honesty shouldn’t have much too much of a bearing on the interpretation of music. However, it always has and always will. Has the anonymity of the producer contributed to the hype surrounding 'Sicko Cell'? Undoubtedly so, but I strongly believe a similar height of attention would have been paid to the track had the producer in hand revealed himself, purely based on the draw of the record.

Discussion of the tracks themselves have somewhat been underplayed due to the prominence of the previous matter, unfairly so as well. There is undeniably something special about this 12”. It’s not the fact an ‘unknown’ producer is behind the work, or the fact that Ben UFO and Oneman have been spinning the dubs since late 2010; there’s a real distinctiveness to the release. These are two memorable yet minimal killers, a fact proven by their 6 month sticking power.

This is particularly true in the case of ‘Sicko Cell’. It’s seemingly contradictory, combining challenging rhythms with the popular awareness of its sampling. The track’s introduction alarms, with various bleeps and razor synths providing layers for the eminent hypnotic vox’d line “I’m the information. Cocaine powder”. The bass kicks hit home earlier than anticipated, soon joined by shuffling hats and the Page sample. The track finally forms its full intricate 808 rhythm, with deep kicks offset neatly by padded toms and soft rim shots. A cold chord arrangement forms a deadly Detroit-esque melody, whilst cries of “too much” resonate in frenetic repetition. This measured build up leads to the track’s climax, a wonderfully twisted breakdown which provides its pinnacle. The vox’d sample directly repeats the opening line, whilst poignantly yearning synthlines provide the perfect foil for Neyo’s bewail “I’m so addicted”. It’s a brilliantly constructed track, causing damage on dancefloors through subtle rhythms and superb samples.

The B-side has been criminally overlooked for me due to the attention directed to ‘Sicko Cell’. ‘Knock Knock’ is an altogether warmer track, whilst still incorporating an introspective element to its sound. Sharp toms immediately align and set the order, whilst the beautiful brooding synthlines tenderly assemble a melody characteristic of this artist’s talents. Pounding bass kicks provide depth to the 808 rhythm alongside quick fire hats, and carefully cut vocal snippets contribute a lamenting tone alongside the ever rising and receding synths. This may just be the stronger of the two tracks in my opinion, skilfully balancing the strong rhythm with emotional melodies.

It’s a very strong release, one which will no doubt be remembered for a quite a while. The A-side will be for crowd pleaser for months to come, and rightly so. I do hope the underplayed ‘Knock Knock’ is given the attention it deserves in the near future. As per usual full marks to Swamp81 who provide yet another outstanding release, finished with typically flawless artwork and pressed on 180g vinyl. Purchase.

Funkbias - Last Forever/Heaven Sent (SWAMP012)

Swamp81 continue their exceptional run of releases with the debut release from Funkbias. The imprint's twelfth release presents the collaboration work between Zed Bias and Rinse FM’s Funk Butcher. The duo’s production work neatly fits the Swamp81 aesthetic, combining vibrant rhythms and neat chords with clipped vocal snippets. There’s something distinctive about the two tracks on display here, a sound quite unique and inimitable.

The A-side is the more identifiable, receiving regular play from Swamp head honcho Loefah, Boddika and Oneman over the past couple of months. ‘Last Forever’ is also most certainly the more upfront track of the release. A rugged rhythm pounds away, with bottom heavy kicks providing the base for precise layers of intricate percussion. Striking synthlines sporadically pierce the surface, whilst an unrecognisably frenetic vocal sample is scrupulously ordered. The elements combine with great efficiency, and the further additions of swelling basslines and sharp claps lend the track its full groove.

Switch to the flip and you’ll find ‘Heaven Sent’. There’s an infectious quality attached to this track which has led me to place the needle on the B-side more often than not. From the initial opening arises a series of soft piano chords that warm the high pitched vocal snippets and subtle toms. The drop takes things in a different direction, introducing the track’s shuffling polyrhythms against a backdrop of surging subbass. The tougher sounds of the multifaceted percussive arrangements take precedence, although it’s soon juxtaposed by the reintroduction of the uplifting chord melody. Crashing toms grow in power, and crisp claps fall on every fourth beat.

It’s an impressive debut from the duo; buy on sit material as per usual from Swamp81. Pressed on 180g vinyl with exceptional artwork from the gifted Will Bankhead (Trilogy Tapes, Honest Jons, Doldrums etc), it’s another essential Swamp 12”.

Addison Groove - Unknown

2011 has quite simply been a faultless year for Anthony Williams under his Addison Groove pseudonym. Three releases of real quality have surfaced in the space of a couple of months, providing material for a wide range of DJs whilst amassing superlatives from numerous music journalists and peers alike. From Swamp81 to Tectonic to 3024, Addison has always delivered excellence, perhaps the pinnacle of which is the sublime ‘Sexual’, a track that combines frenetic 808 rhythms with a sensual chord melody and hypnotic vocal sample. Addison’s sounds has continued to develop, becoming more refined whilst managing to explore further mutations, a progression ‘Make Um Bounce’ indicated on the Tectonic release.

The likelihood of Addison releases in the near future is unlikely after his prolific opening to the year. However, dubs seem to be surfacing, and will undoubtedly generate the same interest and excitement that predecessors ‘Sexual’ and ‘It’s Got Me’ sparked. The latest Addison track appeared at the end of the recent audio/visual collaboration between visual artist Pomp&Clout and Numbers head Jackmaster. The audio/visual mixtape itself is quite something, blending eclectic videos with outstanding mixing track selections from Jack Revill. Nonetheless, the highlight comes in the form of a new Addison Groove track that kicks in from 8:30 onwards.

This new track signals further experimentation, with Williams seemingly exploring sounds more indebted to house and techno, whilst retaining raw 808 patterns and quick fire vocal samples. A rolling 4x4 rhythm slowly transpires, with hi hats subtly filling the gaps in between. The 808 pattern gradually develops, patiently initiating bass heavy kicks and razor sharp toms. Delightful synth arrangements create a melody that harks back to Drexciya, forever keeping the cutting acid synths at bay. And the vocal sample completes the track, with the indelible female vocal reiterating “we like to fuck, yo ass up”. It may just be Addison's best work alongside 'Sexual'.

If that wasn't enough, Addison's remix of Martha and the Vandellas 1967 soul track 'Jimmy Mack' is quite simply something else. Williams' production under the Addison moniker is growing in strength if these tracks are a sign of things to come.

Addison Groove - 'This Is It/Make Um Bounce' (TEC049)

Addison Groove arrives on Pinch’s Tectonic imprint for his third release. ‘This Is It/Make Um Bounce’ represents both signature Addison production work as well as exploration of new sounds, which prove to be ever so effective on the indelible ‘Make Um Bounce’. Following the ‘Work It/Sexual’ 12” released on Swamp81 back in March, which marks his strongest work to date, his latest release goes someway to reproducing that sort of form. Addison is an extremely talented producer, and nobody can work an 808 like him, as evidenced on ‘This Is It/Make Um Bounce’.

‘This Is It’ is the heavy stepper on this two track affair. Opening with juke’s pounding 808 bass hits and flurry of alternating beep tones, the track shows closer ties to previous works such as ‘Footcrab’ and ‘Work It’, a trait further endowed by the repetitive female vocal sample stating “k y’all this is it, kk y’all”. The signature Addison break soon dawns, and it produces the real defining moment and turning point of the track. The frenzied opening is instantly turned on its head, with a mellow and introspective sound arising. A blissful synth chord melody plays alongside warm diva vocals, elements quickly adapted for the dancefloor by the pulsating 808 bass kicks.

The B-side entitled ‘Make Um Bounce’ is likely to be the track turning most heads on this release. It’s set at a tempo much slower than anything Addison has produced before (133bpm). The style is also different, with a sound that seems to combine elements of the electro and classic Chicago house. A rolling 808 pattern echoes Chi-town’s past, with energetic acid synths bubbling beneath the surface whilst the incessant resonance “y’all gonna make um bounce” hypnotises. The 808 rhythm continues to hammer away in a fashion comparable to the vocal sample, working up a formidable storm in the process.

As per usual a heavyweight release from Addison, going some way to confirming his status as one of the most talented producers around at the present. Give him his 808 and he will undoubtedly create sounds that delight. The 12” is out now, be sure to purchase. Also keep a keen eye out for his wonderful 12” forthcoming on Martyn’s 3024 imprint, due for release on May 2nd. Make Um Bounce.

Boddika - '2727' EP (SWAMP011)

2011 is Swamp81's. Their 11th release comes in the form of a 4 track 2x12" from the prolific Boddika, who can claim an equal hold over the year's proceedings to date. Since the release of Addison Groove's 'Footcrab/Dumbshit' the imprint has been outstanding, delivering each and every time in terms of both the quality of music and the artwork in which the 180g vinyl is packaged in. Limited vinyl only releases provided in the finest sleeves curated by Ashes57, Swamp81 have set themselves apart. Boddika's strongest work to date on the '2727' EP further reinforces this ever developing reputation of quality control, proving to match the quality of Addison Groove's 'Work It/Sexual' (SWAMP009).

‘2727’ forms the EPs A-side, and it develops into a real electro stepper. The introduction is intricately programmed, with machine percussion delicately knocking away, whilst toms clash and the repetitive vocal sample sounds. The drop is quite something, with muscular kick drums and heavy subs drowning out the previous tentative percussion. Signature gritty acid synths arise during the break, with hi hats setting a rhythm of their own in the shadows. Bass kicks soon dominate once again, alongside the resounding vocal sample and sharp tom hits. ‘Sometimes’ on the B-side takes a different route, adopting a style close to jacking house. A steady 4/4 rhythm is immediately set, built upon by ever so slightly off beat claps. Acid chords soon loom whilst lofty synths ascend, set into a structure by the jacking beat, deep subs and precise claps.

‘Soul What’ is the track with real soul on this EP. Jarring bleeps and sharp percussion set things off, with female vocal murmurs replacing the latter. This leads up to pulsating bass kicks, installed with perfectly programmed 808 rhythms, intermittent claps repetitive vocal samples. The break is what makes this track special though. A beautiful synth chord melody is established alongside the infectious soulful cries of “oh yeah”. Delicate percussion is smoothly incorporated, preparing for the development of the track under heavy kicks and sub bass. ‘Rubba’ provides the highlight of the four here though, with a delightful synth chord melody progressing alongside 4/4 808 rhythms that transform over the minute long introduction. Heavy bass kicks and razor sharp toms battle away with the flowing synth melody working away on the surface. Coarse acid lines contrast the lighter melody, gaining real prominence in the second half of the track. Fully formed percussive arrangements batter away whilst the acid slowly decays, hesitantly replaced by the wonderful earlier melody.

Quite simply an essential 2x12". The double gatefold pack is beautiful, the perfect accompaniment to four killer tracks. Ahses57 adds the wonderful details and finishing touches once again. Swamp81 and Boddika on top form. You know what to do.

2727 EP
a - 2727
b - Sometimes
c - Soul What
d - Rubba

Swamp81 x 502 Recordings at Cable

We Fear Silence presents Swamp81 at Cable on the 23rd April, and the night they have in store promises to match the quality of the label's recent releases. Loefah's Swamp81 imprint has gone from strength to strength over the past few months, with killer 12" releases from Pinch, Boddika, Addison Groove, and most recently FaltyDL. And, of course, there's the small matter of the signing of 'Sicko Cell/Knock Knock' for the label's 14th release. The night at Cable is a sign of the growing Swamp brand.

Swamp81 will head up the main room, with a line-up that will bring many to tears. Shortstuff and Reecha will warm the crowd, building for the arrival of Ben UFO, FaltyDL and Boddika. Joy O will then provide his wonderful blend of the blissful and the bastard, with an exclusive 2 hour mix from head honcho Loefah in the midst of this talent. Excellent.

If that wasn't enough, room two will be hosted by the increasingly reputable 502 Recordings. Oneman's imprint has two 12"s in it's back catalogue to date, from Fis-T and Jay Weed respectively, with a huge 12" from newcomer Teeth to be released very soon. 502 will be displaying it's array of talent, with the brilliant Visionist, Fis-T, Jay Weed and Teeth all playing in the second room. Oneman will also be contributing another of his revered sets with the help of everyones favourite MC Asbo.

23.04.11. 10pm-6am. £9 advance tickets/£12 OTD. Attendance is vital.

Boddika & Joy O - 'Swims'

Boddika & Joy O - 'Swims'

As far as collaborations go, this may well be one of the most exciting I've come across. Boddika (aka Alex Green) is making his mark as with his solo material, flourishing under the guidance of Non+ Plus and Swamp81 with driving drum machine arrangements and crippling acid synths, a sound purely his own. As for Peter O'Grady (aka Joy Orbison), everything the man touches turns to gold. An impeccable back catalogue is met with numerous unreleased killers, and his recent turn to house infused production has proved particularly promising, with tracks 'Wade In' and 'Ellipsis' further cementing his growing reputation as one of the best producer's around. Work between the two can only provide good results.

Aired on Oneman and Loefah's Rinse FM cover show on Wednesday, 'Swims' is the product of Boddika and Joy O's collaboration. It is instantly recognisable as a sound that the two have refined. A driving 4x4 beat is firmly set, with hi-hats tentatively rising after every second pounding beat. The rhythm is soon accompanied by a wonderful acid chord arrangement that acts as Boddika's signature, with a quick fire vocal typical of both artists' sound, falling neatly alongside the dynamic beat and energetic chords. The result is a simply excellent collaboration, clearly evincing elements of Boddika and Joy O's more recognisable sounds.

Rumours are that a release on Swamp81 is almost certain. Considering each artists' connections to the brilliant Brixton based label, I wouldn't argue against it. With any luck we shall be seeing this on 12" soon, carefully provided in another impecablly produced sleeve by Ashes57. Don't sleep.

Addison Groove - 'It's Got Me / Minutes Of Funk' (3024-012)

New Addison Groove material forthcoming on Martyn's 3024 recordings. A year between his first and second 12" releases, it seems as if Tony Williams has been refining the 'Addison Groove sound' over the past 12 months, and this is something which will be evidenced in a prolific run of releases over the next couple of weeks. 'Work It/Sexual' (Swamp009) asserted the development of the Chicago juke-infused UK bass sound that Addison has been slowly but surely perfecting, with frenetic drum programming, pounding 808 hits, constantly shifting synth tones, infectious vocal samples as well as beautiful introverted breakdowns that delight upon every listen. 'Sexual' demonstrated Addison's strongest work to date, but this may just be outdone by two forthcoming releases.

Addison's next release is for Pinch's Tectonic imprint, with the 12" due for release on the 18th April. Two tracks feature on this single, titled 'This Is It/Make Um Bounce'. Previews of the tracks are currently unavailable, although both tracks are filtering beneath the surface in select mixes. I've only had the opportunity to experience a brief clip of 'This Is It', and it undoubtedly rivals 'Sexual' in terms of quality, Addison providing a wonderful balance between blissful and the bastard.

Addison's following 12" will be released through 3024, with release date set for 2nd May. This will be another two track single, featuring 'It's Got Me/Minutes Of Funk', forming yet another killer release. These are two tracks which Addison has been sitting on for a good while now, with 'It's Got Me' featuring in his mix for Mary Anne Hobbs back in April 2010, and 'Minutes Of Funk' included in Jackmaster's URB mix in October.

The A-side ('It's Got Me') is the stepper, with intricate drum programming that forever builds and progresses, with each snare initiating varying synth chimes. A repetitive vocal soon accompanies, leading up to the brilliant breakdown, in which repetitive cowbells sit comfortably alongside a soft synth melody. These elements are soon joined by pounding 808s, handclaps and a hypnotic vocal that forces movement. The B-side is an equally brilliant effort, a smoother track more along the lines of 'Sexual'. 'Minutes Of Funk' situated around a rolling 808 rhythm, with flickered hi-hats filling the gaps in between. Looped vocals samples feature throughout, and resonate in the mind along with a lovely synth melody which emerges from beneath the breakdown. Listen the the track preview's in the bar below.

Undoubtedly two of the finest track's you'll hear this year, with Addison further cementing his reputation for creating what 3024 themselves have termed a 'one man genre'. 'It's Got Me/Minutes Of Funk' are evidence of Addison's strongest work yet, challenging the quality of his previous release which itself has made a huge impact. And this is without full exposure to his next release, 'This Is It/Make Um Bounce', which promises to please likewise. Three killer releases within the space of three months. 2011 is the year of Addison Groove.

3024-012 ADDISON GROOVE EP by 3024world

Press Release:

'3024's West Country themed takeover climaxes with the 2 previously unheard tracks from one man genre Addison Groove. Marrying hyper kinetic drum programming and dusty-crate dwelling loops to gauzy electronic textures and introspective breakdowns has marked the artist formerly known as Headhunter out as exactly the kind of resolutely unclassifiable Producer 3024 set out to support, and the below tracks are the strongest evidence yet of the increasing refinement of the Addison Groove sound.

Wrapped around the physical version is probably Erosie's most elaborate sleeve design yet, with the chromatic splicing a perfect partner for the contents it flamboyantly protects.'

Addison Groove - 'Work It/Sexual' (SWAMP009)

Addison Groove - 'Work It/Sexual'

If I could convey my sense of joy at receiving this 12" through the post last Friday morning I would, but I'm afraid words just wouldn't give the feeling justice. Originally due for release on the 28th February, the date was pushed back, but thankfully only two weeks. It's been 8 long months since I first heard and fell in love with the wonderful b-side 'Sexual', which surfaced at the end of Ramadanman's mix for Mary Anne Hobbs back in August. Ever since, endless repeats of a short two minute clip have been endured much to my dissatisfaction, however, such a prolonged wait has made ownership of the 12" all the more satisfying.

'Sexual' sounds beautiful in its full duration on wax. 808 beats drive the track along at 144bpm, with the sensuous subs, infectiously looped sample and Detroit house pads creating an effortlessly smooth rolling vibe. For me it's the track of 2011 so far. 'Work It' is another excellent production from Addison, more inclined to fusing elements of juke and straight electro, with pounding 808s, rousing acid basslines and a killer vox'd vocal sample. Two killers from Addison, and you'd expect no less. The quality of the 12" and the artwork is second to none also, a mark of Swamp81's work recently. Fine 180g vinyl delivered in the sleeves and artwork by the brilliant Ashes57. I couldn't ask for more.

Swamp81 and Addison provide the best to date in 2011.