On the 2nd June, we celebrated our 1st Birthday at the fantastic Shipping Forecast bar in Liverpool City Centre. Performances came from Joy Orbison, Alix Perez and the return of every local DJ to have partied with us in the past 12 months.
I would like to take this moment to thank everyone that has assisted in every way, big or small, to the progression and success of Abandon Silence.
On the promotions side, we now take a Summer hiatus, and will return bigger and better in September, see you then!
Thanks,
Abandon Silence
ps. below are a selection of the best photographs from the night. The rest can be viewed BY CLICKING HERE
After the release of his highly acclaimed self-titled instrumental mixtape, Clams Casino has gone in the most perfect direction. After previously producing diverse hip hop for artists such as Lil B and Soulja Boy, he has decided to release his latest EP, Rainforest, through the New York based label Tri Angle. Famed for releases from 'drag'/'witch house'/ 'calypsostep'/'needlesslabelstep' artists such as Balam Acab, the ease with which Rainforest fits in to the label's roster is highly exciting.
You can stream the EP from Soundcloud below - it is available to buy from the 27th June.
In the last couple of years there has been an uprising of the so-called ‘Super Producers’. Most of the music coming from these guys sound like a collection of singles produced for different vocalists by the producer, with the only unifying aspect being a love for noodly jazz (cough.. Ronson… cough) or pulling out ‘unexpected’ covers (cough.. Ronson.. cough) or, in fact, the fact that they’re best mates with said producer. (cough… no point anymore… cough)
This coming September, you can catch Abandon Silence founder Andrew Hill performing a DJ set at the brand new Hudbu Festival! Based at Wirral Rugby Ground just over the River Mersey from our usual home in Liverpool, an awe-inspiring line up of the world's finest DJs and producers looks set to shake the very foundations of the UK festival scene. Though don't take my word for it, check the video out here....
Liverpool based artist Dauwd releases his debut EP for free this Month from the Bandcamp page of the ever brilliant Pictures Music. The fact that Dauwd met Pictures Music man Alex Clapworthy at our Mount Kimbie gig last October makes this release even more exciting for us! So, to the tracks...
‘Could It Be’ is the brother in arms of Joy Orbison’s calling card ‘Hyph Mngo’, with acid undertones guiding the tracks progression through an ambient and beautiful introduction, to the house breakdown and unexpected but brilliant bass wobbles in the finale. The influence of Mount Kimbie’s debut LP ‘Crooks and Lovers’ can be heard across the flipside ‘Shimmer’. Playfully light guitars are present throughout, as are some superb vocals. This release is absolutely perfect for the Summer vibes, and from listening to Dauwd’s other productions, this guy is set for a great future.
Salem didn’t just highlight the witch house/drag movement, they dragged it kicking and screaming in to the public consciousness with their critically acclaimed debut LP ‘King Night’ in 2010. Add to that a string of hugely anticipated live shows and devilishly flipped remixes, and you’ve got a surefire underground sensation on your hands....
AS: It's been just over a year since I last interviewed you for Example Magazine. A year ago you were one half of Submerse, a Future Garage production duo. Over the year I've seen the name Submerse popping up all over the place; interviews, gigs, feature mixes & releases. What's been happening since we last spoke?
Submerse: So much has happened this year it’s crazy; busy none stop all the time! Well, soon after we last spoke I became a one man band, due to moving and work related things. I’ve been pushing out as many releases as I can and been playing gigs all over the show including US, Canada, France, Poland, Belgium, and all over the UK. I also wouldn't really call myself a Future Garage artist as such because I’ve been making pretty broad things the past 6 months from Bassline to House to Moe/J stuff.
The main points of the past year have been releases, having a track picked up by Pioneer for the new DDJ TX1's, gearing up for shows in Japan, producing with The Klaxons, guest mixing for Ministry Of Sound Essential Garage, signing to Faze2 agency, heaps of Sub.fm shows, sponsorship deal with Terratag, charity compilations, and watching so much anime it hurts my brain trying to recap what I have seen. Overall it’s been a super year and all the peeps I have met/worked with have been amazing! Lots of wicked peeps in the world!
AS: So it's been a pretty busy year then! Out of everything that's happened, what would you consider your highlight?
Submerse: Ahh thats a tough one, so many cool things I couldn’t really say just one. The year as a whole has been sweet.
AS: Haha, fair play man. A lot has happened in the bass music world within the last twelve months. A lot of new sounds and artists have been breaking through and absolutely smashin' it. Are there any developments that you have noticed that have got you excited or influenced you in your production?
Submerse: Yeah there is so much good music around right now its awesome, I’m really feeling so much different stuff. Really into Skweee, Witch House and autonomic stuff at the moment. I also think bass music is getting broader and broader by the day, it’s good to take influence from a bit of everything. I still listen to plenty of game music, ost's, a/j-pop/core but I think having such a wide taste in music can help expand your productions and make you want to dabble in a few new things. So many producers to name who have been killing it recently bit massive things coming from every country. It’s been a great start the year!
AS: What's the deal all the Japanese sounds/samples you use? & what the hell is J-Core & J-Garage?
Submerse: Well I'm heavily influenced by anime etc. so it always rubs off on my tracks. I make a lot of serious, kind of sad stuff so it’s always great to make play tracks with fun to them.
Haha, J-Garage was just a funny name to call my productions that have anime J-Pop samples, nothing serious, not a micro genre or anything; taken with a pinch of salt! J-Core is awesome, basically just Japanese Hardcore, not finished any tracks yet myself but it’s just full of energy and there are some great producers.
AS: J-Core sounds pretty interesting. For those who don't know (my being one of them) who would you recommend checking out.
Submerse: Check out DJ Shimamura, M-Project and M-Neko (Who is from the UK!)
AS: You studied Music Production at Leeds Met University. Obviously you must of learnt a great deal about music during your time as a student, and not just in the technical sense, you likely made a lot of good friends, contacts and discovered a lot of new things. Would I be correct in assuming this? If so, university clearly played a big part in your growth as an artist and as a person. How do you feel about the increased university fees and what effect do you think it's going to have, particularly in regards to art & music?
Submerse: Yeah that's all true and 100% correct! I think for myself going to uni helped me get to where I am now. The people I met from nights, other producers etc. were all essential for my growth... but that’s just me and I think it had such an impact because I wasn’t living in a city before. I didn’t know anyone in the scene or anything like that and uni was where I met people. I think it’s shocking about the fees, but just being in a city and meeting people will help you so much. As my old college teacher always said it’s just about getting yourself out there.
AS: Tell us a little but about Heartbeats.
Submerse: Heartbeats is compilation put together by myself, Andy Bee and Price. It’s on sale for £5 and contains loads of unmixed tracks from a huge amount of producers. All the money goes to Red Cross Japan. I couldn’t be happier with how things are going for it and the amount of people wanting to help out! We will be doing more compilations in the future so keep an eye out!
AS: Great stuff! What producers would you recommend people keeping an eye on for 2011, and what can people expect from yourself this year?
Submerse: Lots of great producers doing amazing stuff this year! Far to many to name all of them but watch new stuff from Resketch, Para, Kingthing, Silvanian Families, Kastle, Kanji Kinetic who all have great releases planned! But as I say there are far to many to name! It’s going to be a great year!
As for myself I have forthcoming tracks on Party Like Us, Well Rounded, Frijsfo, Night Audio, Bass = Win, Mutant Bass, Off Me Nut, Formant, Youngunz + more. Also rammo with gigs around the UK and you can catch me in Japan (April - May) playing around Tokyo. I also may be back in the US towards the end of the summer and I have a load of new things in the pipeline that I have to keep hush about for now.
AS: Sounds good man! What's the best way for people to keep up to date on your happenings?
Submerse: I always keep my Soundcloud up to date soundcloud.com/submerse with forthcoming tracks and release info. You can also follow me on Twitter @submerse where i tend to spam a lot!
We are ridiculously proud to be able to announce our plans for the celebration of Abandon Silence's first birthday this June.
Without further ado, here you go...
JOY ORBISON
ALIX PEREZ plus support from every local DJ to have partied with us this year...
Rich Furness Horza Deuce Dalema SPD Dave Clinton SertOne Bolts Organik Nate Jake Daniel Kidheader
Powered by FUNKTION ONE SOUNDSYSTEM.
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For this party, tickets are limited to just 200 and will be issued in the following way... 20 Early Bird tickets £5 -SOLD OUT Limited amount of tickets on sale NOW £6
Oh my, how the last 12 months have flown by. Time flies when your having fun and all that.
We have decided to spend our first birthday in the presence of some special guests and some old friends.
We are more than proud to present our biggest line up yet, as we once again return to The Hold at The Shipping Forecast. Joining us is one of the UK's finest producers, JOY ORBISON. Since taking over the UK scene in 2009 with his releases 'Hyph Mngo', Orbison has gone from strength to strength, and we cannot wait to host him for our birthday.
Joining Joy Orbison will be ALIX PEREZ, One of the UK's greatest DnB producers, his recent move into 140BPM areas has seen a whole new fanbase come calling, and we are ridiculously happy to be able to host Alix on Thursday 2nd June.
As a part of our Birthday celebrations, we have invited every single local DJ to have partied with us this year back for a one off B2B session.
P.S. BE VERY AWARE that Early Bird tickets SOLD OUT in record time, so we recommend buying early to save money and guarantee your place in the crowd for this special night)
This Thursday, Abandon Silence returns to the live sphere with the presentation of KORELESS's live debut show.
Since supporting Mount Kimbie with us way back in October, Koreless has gone from strength to strength. His single 4D/MTi was released on Pictures Music in March with support from Jamie XX, Gilles Peterson and Benji B to name a few.
We are so proud to have the chance to host Koreless, especially given the special nature of his live show. Support comes from local legends Rich Furness, Horza, Organik and Nate.
Burial // Four Tet // Thom Yorke – Ego // Mirrors – Text Records
It is hard to decide which artist here has generated more excitement; be it the reappearance of the mercurially brilliant Burial, the champion sounds of Four Tet or the return to the solo works of Thom Yorke? Since the release was announced on Tuesday morning, there has not been a build up like this since, well, King of Limbs?
The second that ‘that’ percussion drops in A-side Ego, it’s as if the last two years haven’t happened, and Burial has always been here. Since the last LP, Burial has been very quiet. One old track appeared on an El B compilation, but nothing concrete, nothing original, nothing to completely satisfy.
Original is one word that is synonymous with Burial and his collaborators Thom Yorke and Four Tet. Fresh from the recent release of the harshly treated mini-masterpiece ‘King Of Limbs’, Thom Yorke has seemingly decided to embrace his inner beat master. From playing at Low End Theory with the Brainfeeder crew to now releasing this EP, it is clear that Yorke knows how to enjoy himself.
Released through Four Tet’s label Text Records, it appears that Kieran Hebden has scored a major coup. This is in no way belittling the output that already exists on his label, but by releasing the works of Yorke and Bevan, he has guaranteed himself a sell out and a cult classic. His 2010 album ‘There is Love in You’ was one of my favourite LPs of last year, and he furthers his reputation by appearing alongside two of the most respected and critically acclaimed artists of the 21st century.
A-side Ego has some great moments, from the Jonny Greenwood-influenced horns in the opening salvo to the light keys that stroke and meander their way around the final exchanges. Yorke’s vocals are typically inaudible, needing repeat listens, or a lyric sheet, to decipher, but as with his solo and band work, his voice works as an instrument. The ability to create such an illusion is one that many singers struggle to ascertain, but one that Yorke has in abundance, particularly in his more recent works.
For a lover of Burial’s past work, the concluding couple of minutes are heavenly. To hear those pitch-screwed female vocals in a fresh light, to behold the manner in which he wraps the female’s voice through Yorke’s final words like ivy around bracken, it’s nothing short of miraculous.
On the flip there is Mirrors. This track has the percussion that made There is Love in You such a rewarding experience; ever moving, ever evolving. Yorke shows gives his vocal chords a work out and Burial gives the odd hint that he is still there, particularly in the breakdowns.
All in all, this EP will become a cult classic, especially in it’s 12” format. The three artists on show play off each other with different quality, the contrasting styles of Burial and Four Tet are an uneasy mix, deciding to work after each other as opposed to with each other, though Yorke’s vocals are more than enough to hold the whole thing together.
One thing that I fear may beset this EP is the same fate that has beseeched King Of Limbs since it’s release, that that the artist/s on show are capable of better, so it is not received well. However, when taken out of the context of the collaborators and their past works, this is possibly the best single of 2011 so far.
“Remember when you first heard James Blake, Ramadanman, well remember this is where you first heard Koreless. Remember this: Koreless with a ‘K’.” This is what UK radio legend and tastemaker Gilles Peterson had to say about 19 year old Lewis Roberts, aka Koreless.
After his free giveaway Up Down Up Down featured in many a ‘Best of 2010’ list, Koreless makes his way into the new year with the release of his debut EP, to be released on the highly impressive Pictures Music.
4D itself revolves around an emotional and drained vocal sample, with some light percussion and a beautifully progressive synth and sub bass combination that glides throughout.
Anyone with their ears close to the sounds of the UK Grime scene will be more than familiar with S-X. Yet another teenager, the Londoner has built up a reputation as one of the UK’s foremost grime instrumentalists.
Following on from his production Woo Riddim utilised by D Double E in his eponymous track ‘Bad to the Bone’ S-X’s name has soared and to celebrate reaching 3000 followers on Twitter, he has given away a free digital LP comprised of ten tracks.
As an album, these tracks do begin to merge and appear quite similar. However, when you see them as they were intended; as three minute slices of grime intended for lyricists, you sense that the purported UK urban decline isn’t in such bad hands.
Particular mention goes to Motorway Music, with it’s skyscraping synth introduction diving headfirst into some heavy bass and some light keys that could so easily seem out of place, but just fit perfectly, much like most else that features in this giveaway.
After a breakthrough 2010, James Blake proceeds into the New Year with his self-titled debut LP, to be released on February 7th via his own Atlas Records imprint.
In interviews leading up to the release, Blake expressed that it would be a more vocal lead piece than his previous two EPs, taking influence from artists such as Bon Ivor and Joanna Newsom.
As with CMYK’s 90’s R’n’B and Klavierwerke’s Mount Kimbie, Blake wears these influences on his cheek. Grinded into the sound we also detected flavours of Jack Penate, Joe and Wild Beasts.
Out of the 11 tracks on the LP, you can count on one hand how many do not contain heavy doses of re-pitched vocals, a vocal tool championed by one Kanye West. James Blake uses it mostly here to maneuver his voice into different octaves and in essence add extra layers to his production, a la Thom Yorke.
Recent release and hype builder Limit to your Love opened the world to the scope and range of Blake’s broken, yet stunning, voice. He spreads it liberally across minimalistic soundscapes with such ease that belies the fact that this is his first vocal lead release.
There are several potential ‘highlights’ on this record, from the dancing charm of Give me my Month to the indescribable splendour of Lindesfarne I. The penultimate track, I Mind, is possibly the best exponent for James Blake’s latest musical venture, as it perfectly positions itself on the plateau between Blake’s vocal and electronic work.
As with other tracks on the record, over four different vocal pitches are utilized in the track, with the chorus taking in all of these levels as it cascades over the smooth carpet of 4/4 percussion laid down to support it.
Since being previously leaked in the Summer of 2010, I Never Learnt to Share has been given a facelift and an extra 90 seconds in its transition from leak to album track.
The extra 90 seconds comes in the form of an extended introduction with unaccompanied vocals taking us through eight repeats of the burrowingly addictive verse.
After speaking to James Blake when he played at Abandon Silence in September, he spoke of his desire to move away from DJ sets, and into the live spectrum. His upgrade of I Never Learnt To Share appears to have been orchestrated perfectly for that setting. The easy drum build is just crying out for handclaps, and the ultimately hard hitting crescendo lends itself to a festival crowd. With plans for Glastonbury this year, I couldn’t imagine a better setting for Blake to play this record out.
Album opener Unluck is the perfect example of Blake using his influences extensively. In the Pitchfork end of year Polls he spoke of his love for Joe’s recent release, Claptrap. Unluck deploys some fantastically layered vocals spread across some quickfire percussion that does more than nod towards Joe’s Hessle Audio release.
The one track that appears capable of reaching the mass audience garnered by recent 12” Limit to Your Love (which does feature here), is the second track to feature, Wilhelms Scream.
The opening recalls Postpone from the CMYK EP, before some very Jack Penate sounding falsetto vocals seep in. The refrain, “I’m fallin’, fallin, fallin,” is sure to be a crowd highlight when he takes his show on the road in 2011.
When people discussed Blake’s crossover into vocal work from electronic, there were some eyebrows raised; after all, he had received deafening acclaim for his electronic work, so surely the only way was down? Wilhelms Scream butts down any of those fears, with his classically trained vocals echoing across the wall of sound style soundscape that steadily builds throughout the track’s near 5 minute length.
While reviewing this album, there has been one adjective that I have been refraining to use; yet it is the poignant and appropriate word. So, in conclusion, the clearest and most effective method for me to describe this record is simply…
